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THE J. PAUL-GETTY MUSEUM LIBRARY 


Six Rickety Italian | 
| Chairs Bring $3,660 
at the Bardini Sale 


r- “ed Prices for ‘Other Aged Stained 
Decorative Pieces—Total to 
Date Is $312, 650. 


rol 4 Rickety old ‘chairs and ‘age stgined a deco- 
at rative pieces were sold at auction yester- 
of day- in the American Art Association auc-} 
ul- tion room for hundreds and thousands of 
st, dollars in the sale.of the art collection of 
“Stefano Bardini. It seemed- -that the nearer 
en ‘the ‘squeaking old works appeared to the 
\id- trash heap the more money they repre- 
py ‘sented. It looked as if it took actual 
ch courage to bid and pay $3,660 for six tumble 
‘aS down Italian _ chairs, gilt and bronze 
us mounted svood, of the Empire period,, as 
40- coh ww. French & Co. paid for them yester- 
ind day. This was the largest amount paid 
» is for a single lot in the afternoon. ; 
: Ww. any Tyler, acting as agent, paid $1,880 
me! Italian decorative panel of blue and 
-ground, richly carved. The same 


7. $1,040 purchased a ‘set of wall 
is*used in the early periods. 

al amount received for the (one 
nd forty-two. pieces sold: -yester- 
oon was $59,620. The sale totals 
ate, and will continue this after- 
American galleries. ~ 


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Two Italian 16th Century Tables 
Bring $21,300 at Last Sale— 
Flemish Tapestries, $8,200. 


'f -' Returns for the last day of the Ste- 
: fano Bardini sale of Italian art treas- 
ures and antiquities at the American Art 
Galleries yesterday afternoon, $133,240, 
brought the grand total near the half-| 
'p million, the 782 numbers bringing $443,- 
Is 90. %It was a sale marked with a| 
Bye’ notable attendance, both while the col- | 
eo lection was on exhibition and also at} 
the sales. Representatives of the Met- 
ropolitan Museum of Art, the Brooklyn | 
Museum, and the Rhode Island School 
2 of Design were present at the sales, as 
“ well as well-known people of this city 
and large numbers of out-of-town buy- 
ers. The sale, following that of the 
Volpi collection, shows the increasing in- 

terest in Italian interior decorations. 

A couple: of Italian sixteenth century 
tables brought the top prices at yester- 
day’s sale, going to the Duveen Broth- 

/= = vers, one for $11,400 and the other for 
m $9,900. Both were of Florentine wal- 
nut, heavily made, with carved: lion’s 
legs. and paws finishing the supports. 
The first was 8 feet, 1142 inches long by 
8 feet, 5 inches wide, and the second 10 
’ feet, 3 inches long by 2 feet, 10 inches 
a wide. 
; Among other things bringing the 
. higher prices of the day a sixteenth cen- 
ars tury Florentine walnut armchair, with 
i equare back and gilded mask finials, 
Wate the seat and back covered with green 
velvet of the period, finished with gold 
galloon, went to- Bernet, agent, for 
a $1,275. A high price for a single chair 
was paid by Seaman, agent, for another 
tS Florentine walnut armchair of the same 
Nie period, with a rectangular back and 


gilded acanthus finials, for which 


ro 


 & paid $3,000. The back and seat of this 
sth ts chair were covered with a gold-woven 
Re contemporary tapestry, a Kind now of 
rare occurrence. On a gold background 
*y on the back of the chair was a “design 
' showing Neptune brandishing his tri- 
dent, starding on a chariot drawn by 
Bea. horses, with details of Nereids, a 
see fish and sea dragon. ‘The seat had a 
pad a waterfall design. and the sides floral 
yee” rosettes and ribbons forming the border 
abe ef the tapestry. For another armchair 
with a verdure design tapestry Seaman 
paid #1, 300, 
An armchair, the frame bearing an 


ota aS a. 


as escutcheon,’ the tapestry covering of 
pia ey eriod, went to French & Co. for 
An armchair with contemporary 
¥ ‘teen ba a and gold galloon covering went 
ys Deke to W. H. Johnson for $1,800, and to 
Mii the same buyer a sixteenth century 
(eee Umbrian walnut tripod table for $1,450. 
bas 74 A sixteenth century Tuscan walnut ta- 
pe . ble went to Lorenz, agent, for $1,900, 
g and a seventeenth century French wal- 
hen . nut throne chair, elaborately carved, 
4% from the collection of M. Carrand, Di- 
, rector of the Lycns Museum, went tp 
Ae the same buyer for $1,400. 

3) eo For a pair of seventeenth century 
[aie Flemish verdure tapestries French & 
LA Co. paid $8,200, and for a sixteenth 
was 2 century Italian sabesiey panel Bernet, 
sf eat pave $5,100 ic ; | 
$ sixteen century oren , ‘ 
nd gilded. waln Hine. chryed 


TIS) ae I 


No. 3872—Firreenru Century Guazep TERRA-cOT 
OricinaL TABERNACOLO FrRaME 


(By Andrea Della Robbia) 


TA Bas-RELIEF IN ITS 


DE LUXE ILLUSTRATED CATALOGUE 


OF THE 


2 BEAUIEUL 
TREASURES AND ANTIQUITIES 


ILLUSTRATING THE 


GOLDEN AGE OF ITALIAN ART 


BELONGING TO THE FAMOUS EXPERT AND ANTIQUARIAN 


SIGNOR STEFANO BARDINI 


_OF FLORENCE, ITALY 


THE ENTIRE COLLECTION 
mee be SOLD AT UNRESTRICTED PUBLIC SALE 
BY DIRECTION OF SIGNOR BARDINI, THE SOLE OWNER 
ON THE AFTERNOONS AND EVENING HEREIN STATED 


CATALOGUE COMPILED, FROM DESCRIPTIONS AND PROVENIENCES FURNISHED BY 
PROFESSOR STEFANO BARDINI, BY MR. HORACE TOWNSEND OF NEW YORK 


THE SALE WILL BE CONDUCTED BY 


MR. THOMAS E. KIRBY 
AND HIS ASSISTANT, MR. O. BERNET, OF THE 


AMERICAN ART ASSOCIATION, MANAGERS 
MADISON SQUARE SOUTH, NEW YORK 
1918 


ae wy A 
fpr t€ &3-27 
ee 


THE AMERICAN ART ASSOCIATION | 


aE DESIGNS ITS CATALOGUES AND DIRECTS 
ASE ; ALL DETAILS OF ILLUSTRATION | | 
ire Renee en TEXT AND TYPOGRAPHY 


THE BARDINI COLLECTION 


Signor Stefano Bardini, of Florence, who has consigned to the 
American Art Association, to be sold at unrestricted public sale, the 
objects herein described, has for nearly two generations held a fore- 
most place among European experts and antiquarians. Not only a 
majority of oe private collectors interested in the artistic produc- 
tions of Renaissance Italy, but most of the Directors of the great 
National Museums, have been wont to repair to him during the past 
half-century. 

By them he has been regarded not merely as a dealer in precious 
things, but as an expert who has made a life study of the art of 
the Quattrocento and Cinquecento, and to him they have often turned 
when the authenticity of any particular piece was in question. 

Signor Bardini’s determination to offer so large a proportion of 
his gatherings of a lifetime to the American public is due to the dis- 
turbed state of his country, brought about by the present war con- 
ditions, and so the people of this country have an opportunity, which 
would not otherwise be afforded them, of purchasing at an unre- 
stricted public sale Italian Objects of Art selected and assembled to- 
gether by one of the world’s acknowledged experts. 

_ The collection, so interestingly representative of Signor Bardini’s 
career of over half a century, has as one of its outstanding features a 
group of some twenty-nine colored Stucco Reliefs which were gath- 
ered during the first years of his business experience. This means 
that they were selected some half-century ago when creations by the 
leading artists of the Renaissance were readily obtainable, and it 
is, therefore, not surprising to find among them the works of such 
masters as Luca della Robbia, Donatello, Desiderio da Settignano 
and Antonio Rossellino. 

The Marbles, headed by an exquisite torso assigned by leading 
critics to Polvkleitos, include also masterpieces of the Middle Ages by 
such sculptors as Benvenuto Cellini, Baccio Bandinelli and the painter 
we know as Francia, while the works in glazed terra-cotta by the 
Della Robbia family, of which there is a quite surprising showing, 


number among them a superb Madonna and Child by no less a hand 
than that of Andrea himself. 

Signor Bardini’s collection of Bronzes, among which will be 
found examples by Giovanni da Bologna, Rustici and Verrocchio, is 
especially notable for the number of Plaquettes, Medallions and 
Medals therein included, for during the past two decades examples 
such as comprise Signor Bardini’s collection have won the appre- 
ciation of all collectors of Florentine and Paduan art at its very best. 
Testimony to the care and discrimination of Signor Bardini as a 
collector is afforded by the fact that from his treasure house many 
pieces of note have found their way into the Louvre, the South Ken- 
sington and other National Museums, in whose catalogues they have 
been deemed worthy of illustrating. 

The temptation is great to linger upon the Bardini Ma- 
jolicas, among which will be seen typical products from the kilns 
of Faenza, Caffaggiolo, Urbino, Deruta and Siena, upon the small 
but delightful collection of Tapestries, and upon such “Ogetti Varie” 
as the magnificent Porcelain Clock case made for his own use by 
the Marchese Ginoni at Doccia, as the carven Reliquary and as the 
cleverly wrought Monstrance, or upon the collection of pictures 
chosen mainly for their decorative value. 

Particular attention, however, must be directed to what may 
form a chief attraction of Signor Bardini’s collection. This is the 
gathering of Italian Furniture, representing the craftsmanship of 
some three centuries, although the larger proportion consists of the 
work of the [Italian artificers of the Fifteenth and Sixteenth Centuries. 
Here are Chairs ranging from the dignified Seggiole, covered with 
lordly tapestries with golden grounds, to those of Sgabello type, with 
wood seats and backs, delightsome in the intricacy of their carving, 
Tables distinguished by the stately nobility of their appearance, and 
Cabinets, the severity of whose outlines is relieved by the graceful 
elegance of their detail. To these must be added what is probably 
the largest collection of Cassone ever placed on exhibition in this 
country—carved, gilded, inlaid, painted and finished with the richest 
of pastiglia work—and a very striking gathering of the carved and 
gilded furniture of later days when the Italians vied with the French 
in the luxury and display which served as a background to their 
domestic life. 

Unfortunately, this remarkable collection is not as complete and 
representative of the owner’s taste and ability as a connoisseur as 


Signor Bardini origi ded, owing’ to the fac at ¢ 
the last moment tl xovernment, under the provisions 01 
its statutes, exercised its right to become the owner of a number 
of important objects, and to refuse permission for the exportation 0 
other objects of artistic distinction. 

While the public sale of this collection, like all others managed 
by the American Art Association, will be subject to its usual terms 
and conditions as set forth in this and other catalogues it publishes, 
a final word may be said to the effect that Signor Bardini has himself 
assigned to each object its authorship, or period, thereby giving 
to it, as it were, the stamp of approval of one whose opinion in such 
matters, as already has been pointed out, is universally regarded as 
authoritative. 


Horace TOWNSEND. 
New York, April 10, 1918. 


ok ome 


CONDITIONS OF SALE 


1. Any bid which is merely a nominal or fractional advance may 
be rejected by the auctioneer, if, in his judgment, such bid would be 
likely to affect the sale injuriously. 

2. The highest bidder shall be the buyer, and if any dispute arise 
between two or more bidders, the auctioneer shall either decide the same 
or put up for re-sale the lot so in dispute. 

3. Payment shall be made of all or such part of the purchase 
money as may be required, and the names and addresses of the pur- 
chasers shall be given immediately on the sale of every lot, in default 
of which the lot so purchased shall be immediately put up again and 
re-sold. 

Payment of that part of the purchase money not made at the 
time of sale shall be made within ten days thereafter, in default of 
which the undersigned may either continue to hold the lots at the 
risk of the purchaser and take such action as may be necessary for 
the enforcement of the sale, or may at public or private sale, and 
without other than this notice, re-sell the lots fur the benefit of such 
purchaser, and the deficiency (if any) arising from such re-sale shall 
be a charge against such purchaser. 

4. Delivery of any purchase will be made only upon payment 
of the total amount due for all purchases at the sale. 

Deliveries will be made on sales days between the hours of 9 
A. M. and 1 P. M., and on other days—except holidays—between the 
hours of 9 A. M. and 5 P. M. 

Delivery of any purchase will be made only at the American Art 
Galleries, or other place of sale, as the case may be, and only on pre- 
senting the bill of purchase. 

Delivery may be made, at the discretion of the Association, of 
any purchase during the session of the sale at which it was sold. 

5. Shipping, boxing or wrapping of purchases is a business in 
which the Association is in no wise engaged, and will not be performed 


by the Association for purchasers. The Association will, however, 
afford to purchasers every facility for employing at current and 
reasonable rates carriers and packers; doing so, however, without any 
assumption of responsibility on its part for the acts and charges of 
the parties engaged for such service. 

6. Storage of any purchase shall be at the sole risk of the pur- 
chaser. ‘Title passes upon the fall of the auctioneer’s hammer, and 
thereafter, while the Association will exercise due caution in caring 
for and delivering such purchase, it will not hold itself responsible if 
such purchase be lost, stolen, damaged or destroyed. : 

Storage charges will be made upon all purchases not removed 
within ten days from the date of the sale thereof. 


7. Guarantee is not made either by the owner or the Association 
of the correctness of the description, genuineness or authenticity of any 
lot, and no sale will be set aside on account of any incorrectness, 
error of cataloguing, or any imperfection not noted. Every lot is 
on public exhibition one or more days prior to its sale, after which 
it is sold “as is” and without recourse. 

The Association exercises great care to catalogue every lot cor- 
rectly, and will give consideration to the opinion of any trustworthy 
expert to the effect that any lot has been incorrectly catalogued, and, 
in its judgment, may either sell the lot as catalogued or make mention 
of the opinion of such expert, who thereby would become responsible 
for such damage as might result were his opinion without proper 


foundation. 


AMERICAN ART ASSOCIATION, 
American Art Galleries, 
Madison Square South, 
New York City. 


- CATALOGUE 


In the following catalogue of Bronze Plaquettes, Medals and 


Medallions, references are made to: 


“Catalogue of Italian Bronzes,” Berlin Museum, 1904. 

“Les Plaquettes,”’ by Emile Molinier, Paris, 1886. 

“Italian Medals,” by Cornelius von Fabriczy, New York, 1904. 
“Catalogue of the Wallace Collection,” London, 1910. 

“Guide to the Medieval Room, British Museum,” London, 1907. 


The Bronze Plaquettes and Medals of the fifteenth and early six- 
teenth centuries have, within the last decade, become highly prized 
by collectors. Largely copied from antique gems or from engravings, 
they were evidently made with the object of rendering fine work acces- 
sible to a wider circle than that of the rich and noble, but even such 
artists as Donatello did not disdain to take them as their models for 
work of a more important character. Principally made in the North 
of Italy, in Padua, Mantua, Venice, Bologna and Ferrara, their popu- 
larity soon spread into other countries, especially France and Ger- 
many. Their chief use was to decorate such things as caskets, ink- 
stands and sword pommels, but some were evidently treasured for 
their own beauty alone. 


FIRST AFTERNOON’S SALE 
TUESDAY, APRIL 23, 1918 
AT THE AMERICAN ART GALLERIES 


BEGINNING AT 2.30 O'CLOCK 


FIFTEENTH AND SIXTEENTH CENTURY BRONZE 
MEDALS AND MEDALLIONS 


I—FIFTEENTH CENTURY ITALIAN Bronze MEDALLION 
Oval shape. Obverse modeled, in low relief, with a bust portrait 
of the Empress Faustina; reverse, with a Roman ‘Triumph. 


Diameter, 14% inches. 


2—Turee FirreentH Century Iravtian Bronze Sworp Pom- 
MELS 

(a) Circular shape, with floral border, modeled, in low relief, 

with a subject of “Laocoon Attacked by Serpents.” After an 


antique gem. Gilded. 
Diameter, 1 inch. 


Another example is in the Berlin Museum. Illustrated. Catalogue, 


Plate X LI. 


(s) Circular shape, with scrolled border, modeled, in low relief. 
with a seated Cupid. Gilded. 


Diameter, 1 mech. 


(c) Circular shape, enclosed by a wreath. Modeled, in low 
relief, with a subject of “Leda and the Swan.” From an an- 
tique gem. Gilded. 


Diameter, 1 inch. 


3—SIXTEENTH CENTURY ITALIAN Bronze MEDALLION 
Circular shape. Modeled, in low relief, with a sub ject of Cupid 


forging his darts. From the antique. 
Diameter, 24% mches. 


4—F irreEntH Century Iranian Bronze MEDALLION 
Circular shape. Modeled, in low relief, with the head of the 
Roman Emperor Septimus Severus in the character of Her- 
cules. After an antique gem. Gilded. 
Diameter, 1 imch. 


Another example is in the Berlin Museum. Llustrated. Catalogue, 
Plate XLI. 


5—SIXTEENTH CENTURY ITALIAN BronzE MEDALLION 


Circular shape. Modeled, in low relief, with a figure subject 
of Mercury, Hercules and Omphale, surrounded by the legend 
“VTRIVSQUE” in raised Roman letters. 

Diameter, 14% inches. 


6—FirrEENtH Century MANTUAN BrRonzE MEDALLION BY ME- 
LIOLI 


Circular shape. Modeled, in low relief, with a subject of a 
Hunter and Bacchante. By Bartolommeo Melioli (1448-1514). 
Gilded. 


Diameter, 1 inch. 


Other examples are in the Louvre and Berlin Museums.  Illus- 
trated, No. 104, Molinier’s ‘“‘Plaquettes,” and Berlin Catalogue, Plate 
LVIII. 


{—FIFTEENTH CENTURY FLORENTINE MEDALLION 


Oval shape. Modeled with a figure of Diomedes, seated, and 

regarding the Palladium which he holds in his left hand. From 
an antique gem. 

Height, 2 inches. 

The chalcedony gem in the cabinet of Lorenzo de’ Medici, on which 

this was based, was a favorite subject with Quattrocento artists. Dona- 

tello copied it, and Niccold Fiorentino used it for the reverse of his 


Lecia medal. Other examples of this plaquette are in the Louvre and 
Berlin Museums. Illustrated. Berlin Catalogue, Plate XX XIX. 


8—SIxTEENTH CrentTuRY ITALIAN Bronze MEDALLION 
Oval shape. Modeled, in low relief, with a classical figure sub- 


ject. 
Height, 2 inches. 


9—FivrrentH CENTURY FLORENTINE MEDALLION 
Horseshoe shaped. Modeled, in low relief, with the figure of 
Pomona, seated. After an antique gem. For the pommel of 


a sword hilt. 
Height, 2 inches. 


10 12 


10—SIXTEENTH CENTURY ITALIAN Bronze MEDALLION BY DI 
Boeero 

Circular shape. Modeled, in low relief, with a subject of a 

“Combat,” with two mounted warriors contending and three 

foot-soldiers carrying trophies. Surrounded by a legend in 

raised Roman characters, “MARTI vicTorI.” By Gianfrancesco 

di Boggio (circa 1588). 


Diameter, 2 inches. 


Another example is in the Berlin Museum. Illustrated. Catalogue, 
Plate LVII. 


11—SIxTEENTH CENTURY ITALIAN Bronze MEDALLION 
Oval shape. Modeled, in low relief, with a profile of Diana. 
From an antique gem. 
ae Height, 2 imches. 


12—FiIrrEENTH CENTURY ITALIAN BronzE MEDALLION 
Circular shape. Modeled, in low relief, with a Bacchic subject. 
Signed: “IO. F. F.” 


Diameter, 2 inches. 


13—SIxTEENTH CENTURY Papuan Bronze MEDALLION 
Circular shape. Modeled, in low relief, with figure of a Bac- 
chante holding a vase of wine and treading on the prostrate 
figure of a Satyr. 


Diameter, 2 inches. 


14—FirreEntH Century Mantuan Bronze MEDALLION BY 
MELI011 | | 
Circular shape. Modeled, in low relief, with a subject of “An 
Offering.” Under a tree is seated a nude man approached by 
three others bearing baskets of fruit. The similarity between 
this and No. 24 is obvious. By Bartolommeo Melioli (1448- 
1514). Gilded. Diameter, 2 inches. 


Other examples are in the Louvre and Berlin Museums. Illustrated. 
Berlin Catalogue, Plate LVIII. 


15—FIrreENTH CEentTURY MANTUAN BronzE MeEpDAL By MELIOIJI 


Circular shape. Reverse modeled, in low relief, with a subject 

of Orpheus standing under a tree and charming the animals who 

surround him. By Bartolommeo Melioli (1448-1514). 
Diameter, 2 inches. 


Other examples are in the Louvre and Berlin Museums. Illustrated. 


Berlin Catalogue, Plate LVIII. 


16—FIFrTreentH CENTURY NortH ITALIAN MEDALLION By Mo- 


DERNO 
Circular shape. Modeled, in low relief, with a subject of a 
Pieta. The Virgin, at the foot of the cross, bends over and 
raises the arm of the dead Christ, who lies in the foreground on 
a linen cloth upheld by two boy angels, one at each side. In 
the foreground are two nails and flowers. By Il Moderno 
(Fifteenth and Sixteenth Centuries). 


Diameter, 3 inches. 


22-_ FP IrrEENTH CENTURY FLORENTINE BronzE Merpau By BER- 
TOLDO 


Irregular circular shape. Obverse modeled, in low relief, with 
the head of Lorenzo de’ Medici, in profile and looking to the 
right, and with the octagonal chair of the Cathedral of Florence 
with the priest celebrating High Mass and the Pazzi conspira- 
tors attacking the brothers outside. Reverse, with the head of 
Giuliano de’ Medici looking to the left, and the same scene. 
Inscribed in raised Roman letters, the obverse, “LAURENTIUS . 
MEDICES” and “SALUS . PUBLICUS’; the reverse, “IULIANUS . 
MEDICES” and “Luctus . puBLIcUS.” By Bertoldo di Giovanni 
(1420-1491). 


Diameter, 2% inches. 


This is the celebrated ‘Pazzi’ Medal formerly attributed to Antonio 
Pollaiuolo, but now generally conceded to have been modeled by Bertoldo. 
It commemorated the conspiracy of 1478 to which Giuliano de’ Medici 
fell a victim, and is illustrated on Plate XXII of “Italian Medals,” by 
Cornelius von Fabriczy, New York, 1904, and at p. 178 of Dr. Bode’s 
“Florentine Sculptors of the Renaissance,” 1908. 


t 
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23—TIrTEENTH CENTURY FLORENTINE Bronze MEDAL By Pasto- 
RINI 
Oval shape. Obverse modeled, in low relief, with a portrait of 
Hippolyta Gonzaga of Mantua, surrounded by a legend in 
Roman characters; reverse, with a figure of Diana. By Pasto- 
rini de’ Pastorini (1508-1592). 
Diameter, 234 inches. 


24—F 1rTEENTH CENTURY FLORENTINE LEAD MEDALLION BY Mr- 
LIOLI 

Circular shape. Modeled, in low relief, with a subject of a 

Roman soldier with the head of St. John the Baptist approach- 

ing Herod, who is crowned and sits on a bench on the left with 

two bearded figures behind him. By Bartolommeo Melioli 
(1448-1514). 

Diameter, 2 inches. 


Other examples are in the Louvre and Berlin Museums. Illustrated. 
Berlin Catalogue, Plate LXX. 


25—F irreENtH Century Mantuan Bronze MEDALLION BY MeE- 
LIOLI 
Circular shape. Modeled, in low relief, with a subject of a 
Hunter and a Bacchante. By Bartolommeo Melioli (1448- 
1514). Probably from the antique. Similar to No. 6. 


Diameter, 2 inches. 


Other examples are in the Louvre and Berlin Museums. Illustrated, 


No. 104, in Molinier’s “Plaquettes”; Berlin Catalogue, Plate LYIII. 
~ 26—SixTEENTH CENTURY [raALIAN BronzE MEDALLION 


with laurel wreath, bearing a cornucopia, probably intended for 
“Fortuna.” Surrounded by a legend, in raised Roman char- 
acters: “HOC . OPVS.E. FRVGES . EFVNDO. COPIA. CORNY.” After 
the antique. 


Vs shape. Modeled, in low relief, with a bust of a goddess 


Height, 2 inches. 


Another example is in the Berlin Museum. Tlustrated in Catalogue, 
Plate XL. 


27—F IFTEENTH CENTURY FLORENTINE BroNZE MEDALLION 
Circular shape, with raised border. Modeled, in low relief, 
with a seated figure of the Virgin holding the Child Christ on 

~ her lap with St. John the Baptist on the left. St. Francis on 
the right and a lamb below. Diameter, 2 inches. 


Another example is in the Berlin Museum. Illustrated. Catalogue, 
Plate XLII. 


28—FirrrentH Crentury Papuan Bronze MEpALLION 
Circular shape. Modeled, in low relief, with a subject of “Leda 
and the Swan.” On the left side stands a Cupid. From an an- 
tique gem by a Paduan under the influence of Riccio. 


Diameter, 2 inches. 


Another example is in the Berlin Museum. Illustrated. Catalogue, 


Plate LXIII. 


29—SIxTEENTH CENTURY ITALIAN Bronzk MEDALLION 
Circular shape. Obverse modeled, in low relief, with the bust 
portrait of a woman within a border formed of putti and scroll- 


ings. Diameter, 2 inches. 


30—Late Firrrenty Century Norru Iranian Bronze Mepat- 
LION 
Circular shape, with molded rim. Modeled, in low relief, with 
an allegory of “Fidelity” shown as “The Return of Ulysses.” 
The field is divided by a branching tree into two sections: on 
the right Ulysses is welcomed by his faithful hound, and on the 
left stands Penelope with a spindle in her hand. Inscribed with 
the legend in Roman characters: “NxQ (VE) MORTE . SOLVENDUS.” 


Diameter, 2% inches. 


Another example is in the Berlin Museum. Illustrated. Catalogue, 


Plate LXIII. 


31—FIFTEENTH CENTURY ITALIAN BronzE MEDALLION 


Circular shape, with pierced frame of volute scrolls. Modeled, 
a) in low relief, with a subject of St. Thomas placing his finger 
Vy in the wounds of Christ. Surrounded by a quotation from the 
| Vulgate: “Er . CREDIDERU(NT) . BBATI Q(UI) . NON . VIDE- 
RU(NT) (Blessed are they that have not seen and yet have be- 


lieved). 


, 


Diameter, 2% inches. 


32—Latre Firreentn Century Norrs Irarian Bronze Mxpat- 
LION BY Moprrno 
Circular shape. Modeled, in low relief, with a subject of “A 
Combat.” A nude warrior on horseback riding over two pros- 
trate figures. Inscribed with the legend, “puBIA rorTU-NA.” 
By Il Moderno (Fifteenth and Sixteenth centuries). 


Diameter, 214 inches. 


Other examples are in the Louvre, Victoria and Albert, and Berlin 
Museums. Illustrated in Molinier’s “Plaquettes,” No. 215, and Ber- 
lin Catalogue, Plate LILI. 


FirreENtH CENTURY FLORENTINE BronzE MEDALLION BY 
Forpa 

Circular shape. Modeled, in low relief, with a subject of the 

“Bathers.” Figures of two nude men, one of whom is pulling 

his shirt over his head. In the distance a ship with a lateen sail. 

By Ambrogio Foppa—Il Carodosso (1452-1526). 


Diameter, 214 inches. 


33 


Other examples are in the Louvre and Berlin Museums. Illustrated. 


Berlin Catalogue, Plate LVIII. 


34—SIxTEENTH CENTURY ITALIAN Bronze MEDALLION 
Oval shape. Modeled, in low relief, with a head of Minerva or 
Mars wearing a helmet and a brooch decorated with the subject 
of “Hercules and the Lion.” After the antique. 
Height, 3 inches. 


Other examples are in the Louvre and Berlin Museums. Illustrated. 
Berlin Catalogue, Plate XLIII. 


(Illustrated) 


35—SIXTEENTH CENTURY ITALIAN Bronze MeEpAL or ISABELLA 
Dp Estr 
Oval shape. Obverse modeled, in low relief, with the portrait 
bust of Isabella d’Este in sixteenth century costume. Reverse 
defaced. 
Height, 24% inches; width, 14% inches. 


(Illustrated) 


0 36—SIXTEENTH CENTURY ROMAN MEDALLION BY BERNARDI 
vat Oval shape. Modeled, in low relief, with a subject of the 
“Eagle Tearing the Body of Prometheus.” Signed: “I0ANEs . 
B.” By Giovanni Bernardi da Castelbolognese (1496-1533). 
Height, 2°84 inches; width, 34% mches. 


Other examples are in the Louvre and Berlin Museums. Illustrated. 
Berlin Catalogue, Plate LXVIILI. 


(Illustrated ) 


(90 37—FirTrENTH Century Iratian Bronze MxepALiion By BELLI 
; Oval shape, with molded border. Modeled, in low relief, with 


a subject of an “Entombment.” Signed below: “VALERIVS 
DECIUS VICEN.’ By Valerio Belli, known as Vicentius (1465- 
1546). 


Height, 31% inches; width, 4 inches. 
(Illustrated) 


38—TIrrEENTH CrentTuRY IraLIAn Bronze PLAQUETTE 
Oval shape. Modeled, in low relief, with a three-quarter-length 
figure of the Virgin, seated and holding the undraped Child 
Christ in her lap. 
7 Height, 3% inches; width, 2% inches. 
(Illustrated) 


> VtGEN 


GF sts 


“fee 


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ee same y" 


39—Late FirreentH Century GrerMAN Bronze MEDALLION 
: »» Circular shape. Modeled, in low relief, with a three-quarter- 
A> length figure of the Virgin with the Child Christ in her arms. 
On a large crescent and surrounded by rays, alternately straight 
and spiral. 
Diameter, 4 inches. 


40—F'RAGMENT OF SIXTEENTH CENTURY ITALIAN BronzE MeEpAL- 
. yo LION 
& Irregular shape. Modeled, in low relief, with seated figure of 
Vulcan forging arms for Thetis, mother of Achilles, who stands 
on the left. 
Height, 2% inches. 


41—SIXTEENTH CENTURY ITALIAN Bronze MEDALLION 


; % Oval shape, with raised border. Modeled, in low relief, with a 
ies subject of Venus Rising from the Sea, with attendant Nereids. 


Height, 244 inches. 


ly 


tv 42—SIXTEENTH CENTURY RomAN BronzE MerpAL By LEONI 


Circular shape. Modeled, in low relief, with the head of Suley- 
man the Magnificent, Sultan of the Turks, shown as a hand- 
some man with a mustache and wearing a large turban. Sur- 
rounded by the legend, in Roman characters “soLYMAN . IMP. 
TuR.” By Leone Leoni (1509-1590). 

Under Suleyman I, called by Europeans “The Magnificent,” the 
Turkish Empire reached the summit of its power and glory. .This 


medal was probably modeled to the order of the Emperor Ferdinand 
of Austria in 1548, when a truce was made with the invading Turk. 


Diameter, 5 inches. 


43—FIFTEENTH CENTURY MANTUAN BRONZE MEDALLION BY 


poo 


MELIOLI 
Circular shape. Modeled, in low relief, with a subject of “The 
Judgment of Solomon.” In the center Solomon sits on a high 
throne, on the left are the contending women and on the right 
a soldier with a drawn sword. By Bartolommeo Melioli (1448- 
1514). 


Diameter, 2 inches. 


Other examples are in the Louvre and Berlin Museums. Illustrated. 


Berlin Catalogue, Plate LVIIL. 


44—FIrTeEENTH CENTURY NortH ITALIAN Bronze MEDAL BY 

2 x3 2 DE’ Pastt 
Ps Circular shape. Obverse modeled, in low relief, with the por- 
trait head, in profile and looking to the left, of Sigismondo Pan- 
dolfo Malatesta, Tyrant of Rimini. Inscribed in raised Roman 
characters: “‘SIGISMUNDUS . PANDULFVS . MALATESTA . PAN. F.” 
Reverse, with the Rocca Malatestiana, that castle of the Mala- 
testa at Rimini described by Dante. By Matteo de’ Pasti 
(1420-1490). ; Diameter, 3 mches. 
Another example of this medal is in the Wallace Gallery, No. 344 


(Gallery III), and a version is illustrated on Plate IX of “Italian 
Medals” by Cornelius von Fabriczy, New York, 1904. 


(Illustrated) 


45—FivrrENtH Century Nortu Irauian Bronzk MEDALLION BY 

A MopErNno : ee 
[7 ~~ Circular shape. Modeled, in low relief, with a subject of the 
“Death of Orpheus.” Orpheus, under a leafless tree with his - 

hands tied behind his back, is assailed by two Monads wielding 

clubs. ‘Two others carry armor. By I] Moderno (Fifteenth 

and Sixteenth Centuries). Diameter, 214 inches. 


Another example is in the Berlin Museum. Illustrated. Catalogue, 
Plate LI. 


46—FirrrentH Crenrury VicENZAN Bronze Mepat By BELLI 
Circular shape, with reeded rim. Reverse modeled, in low re- 
lief, with a “Way of the Cross.” Christ, bending under the 
weight of the cross, which he carries on His shoulders, is dragged 
and urged forward by Roman centurions. Signed: “vALERIUS . 
ay VIcENTIUS .¥.” By Valerio Belli (1465-1546). 


Height, 31% inches; length, 4 inches. 


Other examples are in the Louvre and Berlin Museums. Illustrated. 
Berlin Catalogue, Plate LXIV. 


(Illustrated) 


fy 47—F irreentH Century Iratian Bronze MEpALiion 
‘’ Oval shape. Modeled, in low relief, with a subject of Alex- 
ander the Great receiving the Wife of Darius. Signed. 


Height, 24, inches; width, 2Y% inches. 


dS19AIY— FF 
ISIIZAGO—FF 


FIFTEENTH AND SIXTEENTH CENTURY BRONZES 


48—E arty SIXTEENTH CENTURY GERMAN BroNZE PouNcetT Box 
A) BY VISCHER 
Ys. Formed as a dog sitting on its haunches and scratching its face 
with one paw. The back hinged to form lid. By Peter Vischer 
(1455-1529). 
Height, 2 inches. 


49—SIXTEENTH CENTURY PADUAN BronzE FIGURE 


(o Sejant lion, intended to form a finial. 
QS Height, 31% inches. 


50—SIXTEENTH CENTURY ITALIAN Bronze INKSTAND 


6° Formed as a couchant bull with short horns, the back hinged to 
\y 0 : form lid. On rectangular base with shaped aprons and scrolled 
feet. 


Height, 3 inches; length, 8 inches. 


51—FIrreEntH Century ITALIAN Bronze BELL 
Baluster-shaped handle and body with incurved sides, decorated, 
g nf e° in low relief, with shields charged with coats-of-arms and having 
. winged gryphon supporters. 
Height, 5°4 mches. 


52—SIXTEENTH CENTURY FLORENTINE BronzE BELL 


\ A> Handle formed as a partially draped figure; curved body, deco- 
A S rated, in low relief, with bands of acanthus leaves and figures. 
a = Head of figure missing. Height, 6 inches. 


WY 538—SIXTEENTH CENTURY VENETIAN Brass FLask 


{>  Pear-shaped, with short cylindrical spout and ring for suspen- 
/) sion. Body decorated with an escutcheon, masks and scrolled 
Yo branches of leaves and flowers. Height, 8 inches. 


ae 
nf 4 
VU if 


t 


wn : 
“yr 54—SIXTEENTH CENTURY FLORENTINE Bronze Bown 


a 


Coupe-shaped bowl, with incurved sides upheld by three putti 
with hands held behind them. The interior is decorated, in low 
relief, with a scrolled patterning. 


Height, 444 inches; diameter, 61% inches. 


A) 8 
eet ty 
ie Ss 

\ 
if 
\w 
Vv 
~ 
a 
\\ 55—SIXTEENTH CENTURY ITALIAN BronzE Mortar 


a 


\e : 


Straight tapering sides and molded rim and base. Side deco- 
rated, in low relief, with winged gryphons, scrolls and trophies. 


Height, 31% inches; diameter, 414 inches. 


A 


56—SIXTEENTH CENTURY FLORENTINE Bronze Mortar 


Tapering sides, with molded rim and foot and two looped han- 
dles formed as dolphins. Sides decorated, in low relief, with - 
festoons of pointed leaves and branches of oak leaves supported 
by statant lions; rim enriched by band of acanthus leaves and 


foot by band of flutings. 
Height, 514 inches; diameter, 614 inches. 


Formerly belonging to the della Rovere family. 


57—SIXTEENTH CENTURY FLORENTINE Bronze Mortar 


t he 
\ "4 


Tapering incurved sides, with molded rim and foot, and two 
scrolled looped handles. Body decorated in low relief with 
figures of playing amorini, rim with band of acanthus leaves and 
foot with detached leaves. 

Height, 5% wmches; diameter, 684 inches. 


jecting handles, formed as bands of pointed leaves. Sides deco- 

rated, in low relief, with vases, supported by Grecian sphinxes, 

r and surmounted by scrolled cornucopie of fruits and leaves. 
I" Rim enriched with acanthus leaves and foot with scrolled fes- 


ye Tapering incurved sides, with molded rim and foot and two pro- 


WW: toons of leaves. 


~ 


Height, 6% inches; diameter, 7°4 inches. 


59—FirrrentH CrenTuRY IraLiAN Bronze Mortar 
Swelling sides and molded rim, enriched with band of pointed 
ue o leaves and modillions. Body decorated, in low relief, with vases 
| of flowers and emblem of monastery (a circle with letter “B” 
and cross). Molded foot. 


Height, \6 inches; diameter, 73/4, inches. 


60—SIXTEENTH CENTURY GERMAN Brass CANDLESTICK 


Formed as a figure dressed in gathered tunic with balloon sleeves 
and knee breeches and with widespread arms holding two cylin- 
drical candle-sockets. On round and octagonal base with 
branched feet. 


Height, 10 inches. 


SIXTEENTH CENTURY VENETIAN BRONZE CANDLESTICK BY 
SANSOVINO 


? 
y~ Ink receptacle shaped as a cylindrical vase, decorated, in low 
relief, with masks and supported, on their shoulders, by two 


61 


Yu winged undraped amorint. On rectangular stand bordered with 
i: scrolls and masks. By Jacopo Tatti—Il Sansovino (1477- 
1570). 


/ 


Height, 9 inches. 


This candle socket is of unusual size in order that it might hold 
the glass tube which shielded the candle from draughts. Another 
example is in the Louvre Museum. 


\ 


« i 


x) 


yan 


., 


62—SIXTEENTH CENTURY PADUAN BRONZE CANDLESTICK 


Calyx-shaped ink receptacle, supported by three scrolled acan- 
thus leaves on triangular stand decorated with voluted gry- 
phons’ heads and acanthus leaves, and with handle formed of 
volutes supporting a human head. 

Height, 4 inches; width, 51% inches. 


(Illustrated) 


683—Pair OF SIXTEENTH CENTURY VENETIAN BronZzE CANDLE- 


se? 


v 


STICKS BY VITTORIA 
Shaped as a tripod formed of three voluted scrolls faced with 


A “female caryatid figures and with feet formed as dolphins’ heads, 


separated by masks. Vase-shaped candle-sockets modeled with 
figures of putt? and rams’ heads. By Alessandro Vittoria (1525- 
1613). 


Height, 7 inches. 
(Illustrated) 


64—PatrR oF SIXTEENTH CENTURY VENETIAN BronzZE CANDLE- 


\ 


STICKS BY VITTORIA hee 


Shaped as a tripod formed of three voluted scrolls carrying 
female caryatid figures, with festoons of flowers and leaves be- 
tween and with square molded feet. Vase-shaped candle- 
sockets, modeled with putti and rams’ heads. By Alessandro 
Vittoria (1525-1613). 
| Height, 7 inches. 
(Illustrated) 


65—SIXTEENTH CrenTURY ITALIAN Bronze Morrar 
0 o Cylindrical shape, with curved spreading sides, molded rim and 
su body, decorated, in low relief, with floral rosettes and a band 
of vine-leaf meander patterning. Molded foot. 


Height,|{6 inches; diameter, 634 inches. 


66—SIXTEENTH CENTURY ITALIAN Bronze Mortar 

: Straight tapering sides, molded rim and foot, with two looped 

acanthus-leaf handles. Body decorated, in low relief, with a 

\ i scrolled escutcheon, flanked by scrolled ribbons and bearing an 
incised monastery emblem. 


Height, 7 inches; diameter, 81/4 inches. 


67—ITALIAN Bronze Morvrar 


10" 


ey 68 


Cylindrical shape, with curved spreading sides, molded rim, in- 
cised with maker’s name, “Fr, GAETANO DAVANZELLI’”’; body deco- 
rated, in relief, with scrolled escutcheon, charged with the em- 
blem of S. Francis of Assisi. Molded base and foot and two 
scrolled and voluted looped handles. 


Height, 16 inches; diameter, 18 inches. 


SEVENTEENTH CENTURY F‘LORENTINE Bronze Mortar 
Vase-shaped, with reeded rim and circular spreading foot deco- 
rated, in relief, with band of acanthus leaves. The body deco- 
rated, in relief, with lions’ masks and festoons of fruit and 
leaves. ‘Two projecting handles formed as dragons’ heads. 


Height, 18 inches; diameter, 14 inches. 


69—F'LoRENTINE Bronze Mortar 
Pye, Cylindrical shape, with molded rim, inscribed in raised. letters, 
ap U</ “ap USUM PHARMACUPAE MONIALIUM §. DOMINICI,” and molded 
| | U foot. Body decorated, in relief, with detached acanthus leaves. 
T'wo projecting side handles formed as eagles’ heads. 


Height, 9 inches; diameter, 1084 inches. 
(Illustrated) 


70—SEVENTEENTH CENTURY FLORENTINE Bronze Mortar 
y0 Cylindrical shape, with curved spreading sides and reeded rim 
»{ 1 and foot. Body decorated, in low relief, with bands of acanthus 
V i leaves and floral meander patterning. ‘Two projecting handles 
formed as horses’ heads. 
Height, 9 inches; diameter, 10 inches. 


(Illustrated) 
WM 
aun ih 71—SEVENTEENTH CENTURY IraLiAn. Bronze Mortar 
aa hh - A Cylindrical shape, with curved spreading sides and molded rim 
we od were and foot. Body decorated, in relief, with scrolled escutcheon 
| Y and drapery festoons. ‘Two looped, scrolled and voluted handles, 


with knobs formed as hooded grotesque heads. 


Height, 10 inches; diameter, 10°4 inches. 
(Illustrated) 


72—SIXTEENTH CrEentTuRY Iranian Bronze Mortar ~ 
60 Cylindrical shape, with curved spreading sides, molded rim, 
Ay )) “body decorated, in low relief, with monastic monogram (A.P.C. 
7 surmounted by a cross) and two projecting handles shaped as 
lions’ heads. . 
Height, 14 inches; diameter, 11 inches. 


(Illustrated) 


73—SIXTEENTH CENTURY FLORENTINE Bronze Mortar 

(. Cylindrical shape, with curved spreading sides, molded rim, 
-_\) body decorated, in low relief, with floral festoons and scrolled 
JV ribbons, two looped handles shaped as dolphins and molded base. 


Height, 12 inches; diameter, 15 inches. 


(Illustrated) 


73 
72 


74—SIxTEENTH CENTURY IvaLIAN Bronze KNOCKER 
6° Plate formed as the head of a woman wearing a Phrygian cap 
2~\\ and supporting the looped knocker, formed as scrolled cornu- 
ra copie having between them a woman’s head. 
Height, 91% inches. 


(Illustrated) 


) 4? : 75—SIXTEENTH CENTURY BoLoGNEsE Bronze KNOCKER 
} .6° Plate formed as a shell, flanked by voluted scrollings from which 
; + ‘4 | hangs the looped knocker, formed as twin dolphins supporting 
a projecting shell above which stands the figure of a putto. 
Height, 91% inches. 


(Illustrated) 


76—F'RAGMENT OF A SEVENTEENTH CENTURY _ITALIAN BRONZE 


> FounTAIN By TAcca 
o 4 v Modeled as the mask of a bearded satyr, with horns and open 
Vv + mouth. By Pietro Tacca (1577-1640). 
{ a Height, 12 inches. 
. 
Pr This mask formed a portion of a monument at Leghorn by Pietro 


NS Tacca. 
(Illustrated) 


77—F IF TEENTH CENTURY ITALIAN Bronze KNOCKER 
ris = 

)°- Plate shaped as a grotesque mask holding in its mouth a ring 
tT” on which swings the looped knocker, formed as acanthus-leaf 


scrolls and winged sphinxes. Exceptional patina. 


Height, 10 inches. 
(Illustrated) 


78—SIXTEENTH CENTURY F'ERRARESE BRONZE KNOCKER 

7 ’ Plate formed as a human mask, below which is a bar from which 
|\~ swings the looped knocker, formed as twin dolphins holding a 
| bearded satyr mask. 
Height, 1014 inches. 
(Illustrated) 


79—FRAGMENT OF ..A SIXTEENTH CENTURY ITALIAN BRONZE 


“ 
s/t 


ff FOUNTAIN 


Modeled as the head of a fabulous monster with open mouth 
for the egress of water, with a lion’s mask below. 


Height, 12 inches. 
(Illustrated) 


E. 


80—Parr oF SIXTEENTH CENTURY VENETIAN BrRonNzE CANDLE- 


- ‘) STICKS . 
ye ' U.? Baluster-shaped stems, with cylindrical and gadrooned bases 
\ © and molded feet, on tapering molded pedestals. The stems are 
¥ : decorated, in low relief, with masks and acanthus leaves, the 
y ty pedestals with quatrefoil interlacements. Flat bobéches and _— 
\ Ve fluted candle-sockets. 


Height, 9 inches. 
(Illustrated ) 


81—SIxTEENTH CrentTUuRY IraLiAN Bronze Ewer 
ae wv Pear-shaped body with incurved neck, molded domed cover fas- 
(0. tened by a chain, scrolled over-handle, curved spout with mask 
Y termination and molded foot. 3 
Height, 111% inches. 


82—-BoLOGNESE BronzE Morvrar 


re Cylindrical shape, with curved spreading sides and molded rim 

4 () decorated with bands of twisted ribbon, bead and reel pattern 
a and raised inscription: “Teruntur hic pharmaea morbis an 
teritur salus C. Navaroli Prior C. Parme F. F. Barborini F. 


MDCCCIX.” The body decorated with lion masks, festoons of 
beads, loops of ribbon and band of pointed leaves. ‘Two pro- 
jecting handles shaped as leopards’ heads. 


Height, 8 inches; diameter, 914 inches. 


83—FIrTEENTH CENTURY GERMAN Bronze Ewer 
yee Spherical body, with long cylindrical neck, spreading rim, 
L hinged dome cover with human head finial, looped handle, bird- 


shaped spout, cylindrical stem and circular foot. 


Height, 10 inches. 


84— SEVENTEENTH CENTURY PapUAN Bronze Mortar 
g0 Cylindrical shape, with straight spreading sides and molded rim. 
/ 66 The body decorated in relief with masks and vertical bands of 
scrolling, the base with a band of scrolling. One twisted, looped 
fyaebteed handle. 


Height, 41% inches; diameter, 6 inches. 
sgee 


85—SIXTEENTH CeEntTURY IraLiAN BronzE EWER 

4) Pear-shaped body, with incurved neck, molded rim and circular 
if ye molded stem, and two scrolled looped handles terminating in 
| scrolled masks. 'The curving spout is molded as a grotesque 


winged head with open mouth. 
Height, 15 inches. 


86—SIXTEENTH CENTURY ITALIAN Bronze Ewer 
ry Pear-shaped body, with incurved neck, circular foot and over- 
_/) handle formed of two voluted scrolls starting from masks at 
y! the sides and with a shield charged with the Medici coat-of- 
arms in the center. Curved spout with dragon’s head mouth 
and acanthus-leaf enrichment. 
Height, 22 inches 


877 SEVENTEENTH Century FrLorENTINE Bronze Ewer 
Ovolo-shaped body, with incurved rim and molded foot, fixed 
scrolled and molded over-handle springing from satyr masks, 
and straight spout supported by winged Grecian sphinx head 
with shaped escutcheon below. Height, 30 inches. 


La 


SEVENTEENTH CENTURY FLORENTINE Bronze Mortar 

ob Cylindrical shape, with curved spreading sides and molded rim 

FY ? - and foot. The body is decorated, in low relief, with festoons 
of grapes and vine leaves and bands of scrollings and acanthus 

leaves. ‘Two scrolled and voluted looped handles. 


88 


Height, 184% inches; diameter, 17% inches. 


bi 89—ParMan Bronze Mortar 
Cylindrical shape, with curved spreading sides and molded rim 
inscribed in raised letters with the names of the maker, “1osEPH 
MONTANARI,” and the owner, “DOMINICO BABORINI.” ‘The body 
decorated, in relief, with festoons of fruits, birds and putto 
masks. Molded foot, decorated with masks and acanthus leaves, 
and two projecting handles. 

Height, 1314 inches; diameter, 15 inches. 

(Illustrated) 


90—EIGHTEENTH CENTURY FLORENTINE Bronze Morrar | 
, Cylindrical shape, with curved spreading sides and molded rim 
“ * and foot. Body decorated, in low relief, with scrolled oval me- 
{ 0 dallion enclosing a cherub, with scrolled strapwork and acanthus 
leaves and with incised name, “MANVEL BARAGLI,” and date, 
“1761.” ‘Two scrolled, voluted and looped handles. 


Height, 14 inches; diameter, 144% inches. 


(Illustrated) 
91 —RiGHTEuNTH, Century Iratian Bronze Mortar 
6 0” “Cylindrical shape, with curved spreading sides and molded rim 
\ and foot. Body inscribed, in raised letters, “A. S. R. F. 1761.” 
¥ Two looped handles formed as nude female caryatids. 
Height, 14 inches; diameter, 151% inches. 
(Illustrated) 
92—F LoRENTINE Bronze Mortar 
re 0 Cylindrical shape, with curved spreading sides and rim deco- 
rd 


' x rated, in low relief, with bands of scrollings and floral festoons. 
) The body with the names of the maker, “CARLO RUFINI,” and 
the owner, “BARTOLOMEO BUSCIONI, with the date “mpccLut.” 
Molded foot, decorated, in low relief, with rosettes and acanthus 
leaves. ‘Two looped handles. = 
Height, 15 inches; diameter, 1814 inches. 
(Illustrated) 


93—SEVENTEENTH CENTURY PapUAN Bronze Mortar 
; my Cylindrical shape, with curved spreading sides and molded rim 
: “y~ ; and foot. Body decorated, in relief, with shaped escutcheon, 
\ uf 


, J charged with the Piccolomini coat-of-arms and flanked by 
ee quatrefoil medallions and acanthus-leaf scrollings and by a fes- 
ae *. ; toon of figs and leoves. Two scrolled and looped handles. 

Height, 18 inches; diameter, 21 inches. 
(Illustrated) 


94—F rTEENTH CENTURY FLORENTINE BRONZE STATUETTE BY DA 
BoLOoGNA 


A Figure of Mercury wearing the “petasus,” or winged cap, with. 


his left arm raised. Shown to the knees only. On cylindrical 
pedestal. By Giovanni da Bologna (1528-1608). 


Height, 614 inches. 


This is from a study in wax for the large bronze figure modeled by 
Giovanni da Bologna in 1564, 


(Illustrated) 


95—SixTEENTH CENTURY FLORENTINE BRONZE STATUETTE 
y) a coca: . . . 
F SY Figure of “Silence.” Standing figure of a woman in classical 
a robes, with her right hand on her hip and her left with out- 
stretched finger raised to her lips. 
rn) Height, 614 imches. 
Jer There is a striking resemblance between this figure and a drawing 
by Luini Bernardino in the Louvre. 
(Illustrated) 
96- SIXTEENTH CENTURY FLORENTINE BRONZE FIGURE BY DA 
Al, BoLoegna 
Q\U Figure of a Bacchus, shown as a nude youth holding in his 
) . . . . 
D outstretched right hand a wine cup and in his left hand a bunch 


of grapes. On circular base, drum-shaped bronze pedestal, 
decorated with festoons of drapery and three paw feet. By 
Giovanni da Bologna (1528-1608). 

x Height, 8 inches. 


This is a portrait of Morgante, the Court Dwarf of Cosimo I 
de’ Medici, as Bacchus. Another example is in the Berlin Museum. 
Illustrated. Catalogue, Plate XV. 


(Illustrated) 


97—SIXTEENTH CENTURY ITALIAN BrRonzZE EQUESTRIAN FIGURE 


vy 
yo 


(ScHoo. or Riccio) 

Figure of a bearded man, with his right arm held out and 
bearing on his shoulders a cornucopia. Seated on a horse with 
elaborate trappings. On hexagonal shaped base with plinth 
decorated, in low relief, with honeysuckles and scrollings and 
supported by three sejant lions. By a pupil of Andrea 
Briosco (II Riccio). 

Height, 81% inches. 


Another example is in the Berlin Museum. Illustrated. Cata- 
logue, Plate XX. 


98—LatTE SEVENTEENTH CENTURY ITALIAN Bronze STATUETTE 
o? Kquestrian figure. Bare-headed and carrying a drawn sword in 
| lb his right hand, while the left holds the reins aloft. The horse 
has a saddle-cloth and its arched tail is tied with a ribbon. On 
an oval pedestal, probably Paduan of the fifteenth century, 
broken at the angles by four caryatid figures with tapering ter- 
minations. Molded cornice, and base and body decorated with 
acanthus scrolls arranged in quatrefoil. 


Height, 14 inches. 


99— FIFTEENTH CENTURY PADUAN BRONZE STATUETTE 


o 


ay 


Figure of Atlas bearing the world. Nude figure of a bearded 
man, seated upon the stump of a tree and supporting on his 
shoulders, with both arms raised, a globe. On molded oval 


bronze base. Gilded. 
Height, 6 inches. 


| L \ a ad , 


100—F irrreNtH CENTURY PapUAN Bronze CANDLESTICK BY 
: It, Riccio 
g | 0 Kneeling figure of a satyr with goat’s beard, a horn appearing 
we from his forehead, and goat’s hoofs, and with his head thrown 
back, holding in one hand a vase-shaped acanthus-leaf deco- 
rated candle-socket. Supported on a triangular stand encircled 
y jh. by a band of foliage ornamentation and with three paw feet. 
“Dr 3 | By Andrea Briosco—Il Riccio (1470-1532). 
Height, 10 inches. 


101—SIXTEENTH. CentURY FLORENTINE Gitt Bronze STATUETTE 


Figure of Hercules. Standing, draped from the waist down- 
ward with his lion’s skin thrown over his left shoulder and hold- 
ing his club in his right hand. In his outstretched left hand he 
holds the three golden apples of Hesperides. On square base. 
Completely gilt. 

| Height, 81 inches. 


102— FIFTEENTH CENTURY FLORENTINE BRONZE STATUETTE BY 


gf" 


SANSOVINO 


(? Full-length figure of an amorino. He has close-curling hair, 


\ 


stands upon one leg with the other drawn up, in the attitude 
of drawing his bow, which he holds in his left hand and shooting 
an arrow with his right. Across his shoulder is a strap for his 
quiver. On square chamfered wooden base. By Jacopo Tatti 
or Sansovino (1477-1570). 

Height, 7 inches. 


Another example is in the Berlin Museum. Illustrated. Catalogue, 
Plate VII. 


103—SIxTEENTH CENTURY F'LORENTINE BRONZE STATUETTE BY 


- 


Rustic 
Figure of Mercury, poised on one foot with the right hand 
lifted high in the air. He wears the “petasus,” or winged cap, 
and talaria, or wings, on his feet, but does not carry a “cadu- 
ceus.” On square molded base. By Giovanni Francesco Rus- 
tici (1474-1544). 
Height, 131% inches. 


Signor Bardini points out the differences between this statue and 
the similar Mercury by Gian da Bologna. Rustici was a pupil, accord- 
ing to Vasari, of Verrocchio and, without doubt, of Leonardo da Vinci. 
He modeled the group of St. John, the Levite and the Pharisee over the 
north door of the Florentine Baptistery. 


(Illustrated) 


No. 103—Si1xTEENTH CENTURY FLORENTINE BronzE STATUETTE 
By Rustict 


oY v 


at) Ww 0? 

] U ya N 
oy WZ | Bue? 
104—Graco-RoMAN Bronze VASE OF THE KigHTEENTH CENTURY 


B.C. 

Pear-shaped body, with incurved cylindrical neck, molded rim 
and foot and molded looped handle starting from a winged — 
Grecian sphinx mask, and having a satyr’s head, with horns, 

pointed ears and beard, for a thumb-piece. The shoulders are — 
decorated with raised fluting, below which is a band of incised 
honeysuckle ornamentation, the lip with a band of egg and. 
dart patterning and the foot with a band of water-leaf orna- 
mentation. ‘The surface is partially covered with a crust due 
to long burial, revealing a most beautiful greenish-blue patina. 


Height, 14% wcehes. 


Signor Bardini particularly values this vase, pointing out with 
approbation its extremely beautiful shape, reticent decoration and 
superb patina. 

(Illustrated) 


No. 


104—Greco-Roman Bronze VAseE oF THE EIGHTEENTH 


Century B.C. 


na 


y \ 
105—SIXTEENTH CENTURY FLORENTINE BronzE FIGURE BY SUSINI 
Kneeling figure of Atlas, shown as a nude man, carrying on his 
shoulders, in place of the conventional globe, the framework of 
a dial consisting of interlocked rings of bronze. On cylindrical 
molded bronze pedestal. By Susini (Sixteenth and Seventeenth 


Centuries). 
Height, 16 inches. 
From the atelier of Giovanni da Bologna. 


Ypo% 


106—SIXTEENTH CENTURY GERMAN BRONZE STATUETTE OF JUSTICE 


Figure of a woman, with bare arms and legs, wearing sandals 
and a classic robe entirely covered with a delicately chased pat- 
terning of scrolls and flowers. Her curling hair is twisted into 
a knot, and she stands with a smile on her face and both arms 
outstretched, one originally holding a sword, the other a balance, 
both of which are missing. On square molded base. (Tinger 


faulty. ) 
Height, 23 inches. 


107—SIXTEENTH CENTURY BoLOoGNESE- Bronze CRUCIFIX BY DA 
AW, BoLoena 
"| \ ~ Wooden cross, on shaped, broken and triple-pedestaled base 
of ebonized wood, with moldings carved with fine gaufferings. 
On the cross hangs a bronze figure of Christ supported on one 
side by a bronze figure of the Virgin, who stands gazing at the 
cross with upraised hands, and on the other by St. John in a 
similar attitude. By Giovanni da Bologna (1524-1608). 


_ Height, 32 inches. 
(Illustrated) ay 


STOPES ERTS | 


SEE RLCERET RELL EE OLE TES pitti ee ia 5 3 


; 4 wt . DOC ORED 
i eae ewereEe oceee : LEAS COVE SEARS EE TIES! ite 
ease teseveesbaeeenten atturscc seu eaeepEERSTOTSE eee 
‘a “ ‘eee es POLES PE SER EREEE SD CREE SSE PEERS oes oe aA 
Ii seeeremnecovenesireneecyrenenearerettter=anaprnren-nateeurensalnesteetoersiereneispereemtenrennmenremeeeseenesneanie 


No. 107—Si1xTEENTH CENTURY BoLoGNEsE Bronze CruciFrix 
BY DA BOLOGNA 


Pe 


\ 


108—SIXTEENTH CENTURY I‘LORENTINE BRONZE CALVARY BY DA 


VOLTERRA 

Rocky mound of hanging moss and pointed-leaf vegetation sur- 
mounted by three crosses. On the center one hangs the entirely 
undraped figure of Christ, having on His right the penitent 
thief, who hangs in a relaxed attitude and gazes with a reliant 
expression at his Saviour. On the left hangs the impenitent 
thief, his limbs distorted and his face turned away. On square 
molded base resting on feet shaped as couchant lions. By 
Zaccaria da Volterra (Sixteenth Century). 

Height, 3144 inches. 


The figures, according to Signor Bardini, are modeled from a draw- | 
ing by Michelangelo, of whom da Volterra was a pupil. 


(Illustrated) 


; No. 108——SixreentH Century FLorentTINE Bronze CALVARY 
BY DA VOLTERRA 


; as 
\ y 


\ ny 


WROUGHT IRON AND BRONZE 


109—SrxTEENTH CENTURY FLORENTINE WROUGHT-IRON BRAZIER 


40) 


110— 


o> 


20 


\ t 


STAND 
Formed of two horizontal flat rings of wrought iron, supported 
by eight brackets of scrolled flat iron enriched with wrought-iron 
leaves and riveted into upper ring. On three wrought scrolled 
strap-iron feet. 
Height, 14% inches; diameter, 28 inches. 


(Illustrated) 


SEVENTEENTH CENTURY FLORENTINE SILVER AND BRONZE 
HeartH Brazier , 
Octagonal shape with molded rim of bronze, supported by 
gilt bronze brackets shaped as cherubim and volutes, with 
molded base and scrolled feet, shaped as cherubim, also of gilt 
bronze. ‘The sides are paneled with plates of silver repoussé 
and chased in designs of strapwork scrollings. Looped swing 
carrying handles of silvered steel in a scroll design. Fitted with 

iron fire-tray. 


Length, 30 inches; width, 21 inches. 
This brazier came from the Borghese Palace in Rome. 


(Illustrated) 


eae 


AEA 


110 


Ms, aca 


ec ert cesarean cies 


109 


111—Parre or SIXTEENTH CENTURY FLORENTINE BRONZE ANDIRONS 


F\ 
-\ f) 
) \ 


a8 


Turned baluster-shaped standards, with bodies of vase forms, 
ball finials and molded bases. On arched and voluted feet of 
wrought strap-iron. 
Height, 26 inches. 
(Illustrated) 


112—Patr oF SIXTEENTH CENTURY FLORENTINE BronzE ANDIRONS 


Turned vase-shaped standards, with fluted bodies, gadrooned 
and acorn finials and fluted triangular bases. Modeled at the 
angles with lions’ masks. On voluted feet of wrought strap- 
iron with wrought-iron aprons. 
Height, 25 inches. 
(Illustrated) 


113—Pair or SIXTEENTH CENTURY FLORENTINE Bronze ANDIRONS 


- 
a ad 
su 


“i 
: 


Turned vase-shaped standards, with boldly gadrooned bodies, 
gadrooned ball finials and fluted triangular bases. Modeled 
at the angles with masks and leaves. On voluted feet of 
wrought strap-iron with wrought-iron aprons. 
Height, 22% inches. 
(Illustrated) 


Itt raat 


§I1 


114—F IF TEENtTH CENTURY FLORENTINE WROUGHT-IRON BASIN 


aY 


Qi 


/J 


STAND 
Standard of spirally twisted iron, with molded ball knop and 
basin-holder of four branches of strap-iron with voluted ter- 
minations. On three curved and voluted feet of strap-iron with 


wrought-iron ball pendant. 
Height, 28 inches. 


(Illustrated) 


os 115—SIxTEENTH CENTURY FLORENTINE West e -IRON BaAsIN 


e 


’ A 


0 


STAND 
Of tripod form, with circular basket top and three legs of 


scrolled and voluted strap-iron. Triangular base, with three 


scrolled and voluted legs of strap-iron. 
Height, 31 inches. 
(Illustrated) 


= 
Lt 


SIXTEENTH CENTURY FLORENTINE WrovuGHT-IRON Basin 
STAND 

Of tripod form, with circular top and three legs of strap-iron 

of scrolled and voluted design. Triangular base and three 

curved and voluted feet of strap-iron. 


Height, 31 inches. 
(Illustrated) 


116 


114 


115 


117—_SIXTEENTH CENTURY FLORENTINE WROUGHT-IRON STAND 
4), Of tripod form, with triangular top and three standards of 


a) scrolled and voluted design of wrought strap-iron. Triangular 
U base and three scrolled and voluted feet of strap-iron. 


Height, 32 inches. 


g@ 


a0 
118—Firreentn Century FLoreNTINE WrovucGut-Iron Bastn- 
HOLDER 
Basin-holder of pointed and serrated leaves, square iron bar 
standard with octagonal knop, and tripod base with curved and 


straight legs and spreading feet. 
Height, 36 inches. 


ys 


119—FirreentoH CEnTury JFL oren tine WrovcuHtT-1ron STAND 
Formed of three radiating iron bars, supported by curved brack- 
ets, one terminating in mask, two 19 ‘voluted scrolls and all three 
supporting loose {ron rings. Thé three triangular-shaped wings 
are occupied/by shields surrounded by wrought-iron leafage, 
and end inAcrolled hoops,“ The standard is square and enriched 
with poirtted leaves andthe tripod base is formed of carved and 


straight legs ending in paw feet. 
Height, 35 mches. 


120—FirrrentH Century FLORENTINE WROUGHT-IRON STAND 
y 0 Formed of three radiating iron bars, supported by curved brack- 
Y A ets, one terminating in mask, two in voluted scrolls and all three 
\ supporting loose iron rings. The three triangular-shaped wings 
are occupied by shields surrounded by wrought-iron leafage, and 
end in scrolled hoops. ‘The standard is square and enriched with 
pointed leaves and the tripod base is formed of carved and 

straight legs ending in paw feet. 
Height, 35 wmches. 
(Illustrated) 


121— FIFTEENTH CENTURY FLORENTINE WROUGHT-IRON STAND 


, Formed of three radiating iron bars, supported by curved brack- 
6 /“ ets, one terminating in mask, two in voluted scrolls and all three 
ys supporting loose iron rings. ‘The three triangular-shaped wings 
are occupied by shields surrounded by wrought-iron leafage, and 
end in scrolled hoops. The standard is square and enriched with 
pointed leaves and the tripod base is formed of carved and 

straight legs ending in paw feet. 
Height, 35 inches. 

(Illustrated) 


122— FIFTEENTH CENTURY FLORENTINE WROUGHT-IRON STAND 


4; Formed of three radiating iron bars, supported by curved brack- 
(*/ ets, one terminating in mask, two in voluted scrolls and all three 
Q 2 supporting loose iron rings. The three triangular-shaped wings 
: are occupied by shields surrounded by wrought-iron leafage, and 
end in scrolled hoops. The standard is square and enriched with 
pointed leaves and the tripod base is formed of carved and 

straight legs ending in paw feet. 
Height, 35 inches. 

(Illustrated) 


col 


A 


Jase 
Ee, ala! «-m) 


123—Parr or FIrreentH CENTURY FLORENTINE WROUGHT-IRON 
ANDIRONS 
Baluster-shaped standards, with ball knops and incised pattern- 


0 ing of conventional foliage, large acorn finials and molded bases. 
0 On trefoil arched feet of wrought strap-iron with incised pat- 


.) ternings. In front are wrought-iron brackets with acorn finials. 


. Height, 33 inches. 


‘sis 


t 


124— Parr or FirrrentH CEentury FLORENTINE WROUGHT-IRON 


ge 


ye 


ANDIRONS 
Baluster-shaped standards, with ball knops and incised pat- 
ternings of conventional leaf design. In front are curved bal- 
uster-shaped brackets with leaf finials. On trefoil arched feet 
of- wrought iron with incised patternings. 
Height, 32 inches. 


125—Patr or FirreeENtH CENTURY FLORENTINE ANDIRONS 
Square standards, ending in volutes with voluted sporte, or 
brackets, and arched feet with trefoil scrollings. 


< ‘f = . 
A, ] - Height, 40 inches. 
(Illustrated) 


& 126—KEarty Friereenra Crentury FLorENTINE WROUGHT-IRON 
\ 0 W ASHSTAND 


Basin-holder of four scrolled flat iron arms, square standard 
with square knop, on tripod stand of scrolled-bar-iron and 
strap-iron legs and spreading feet supporting a square bar 
vertical standard with scrolled top and arm from which hangs 
a basin-shaped bronze water fountain. 


Height, 61 inches. 
(Illustrated) 


& Weenies 


125 


126 


125 


0 
A 
Vy 
127—Pair or FIFTEENTH CENTURY FLORENTINE ANDIRONS 


Standards of square iron bars with beveled knops, sporte, or 
brackets, of wrought-iron rings, with ball finials and smaller 
brackets below. Arched and trefoil scrolled feet. 


Height, 50 inches. 


128—Parir oF FIrreEENTH CENTURY FLORENTINE WROUGHT-IRON 
'TORCHERES | 
| b 0 Standards of spirally twisted flat iron, circular bobéches, with 
scalloped aprons supported by curved iron brackets and 
crowned with trefoil scrollings, and tripod bases of scrolled flat 
iron. 


Height, 634% inches. 


a 
~ 
= 
= 
= 


129—Pair oF SIXTEENTH CENTURY FLORENTINE WROUGHT-IRON 
TORCHERES 
Standards of round iron bars with double baluster-shaped 
knops; saucer-shaped bobéches supported by scrolled strap-iron 
brackets and pointed prickets. On tripod bases formed of 
scrolled and voluted strap-iron legs, enriched by spiral tendrils 
and bronze vase-shaped finials. 


Height, 5 feet 3 inches. 


ry? 
| 130—Parir Earty FIrreenNtH CENTURY FLORENTINE WroUGHT- 
TRON 'TORCHERES 
Standards of wrought-iron bars; circular bobéches, with scal- 
loped aprons supported by curved iron bar brackets. On tripod 
bases with straight legs ending in spreading feet. 


Height, 5 feet 3 mches. 


131—Parir oF FirreeNtH CENTURY FLORENTINE WROUGHT-IRON 
yt _-ToRcHERES 
( 6 "Standards of rounded iron bars, with pear-shaped knops.  Cir- 
y /— cular bobéches with scalloped and pierced aprons, supported by 
scrolled brackets, pointed prickets, and tripod stands of scrolled 
flat iron bars. Height, 63 inches. 
(Illustrated) 


132—EarLy FIrreEENTH CENTURY WROUGHT-IRON 'TORCHERE 


ah 


wl Standard of a square iron bar, the upper section wrought with 
spiral ribbon enrichment, circular bobéche with scalloped apron 
supported on a pointed-leaf collar by three twisted iron bars, 
pointed candle pricket and tripod base of flat iron bars and 

pointed leaves. 
Height, 683 inches. 


td 


ae 

5 Pras 

& As 
ae SOF 
a 


133—FIFTEENTH CENTURY FLORENTINE WROUGHT-IRON FIRE 
AY SCREEN 

‘) “\\ 7 Formed of two square iron bar standards, with knops of pointed 
leaves and curved pistils, terminating in sporte, or brackets, of 
iron rings with flat scrolled iron side, connected above by a 
round-arched brace of scrolled iron and below by two parallel 
square bars, fitted in with flat iron scrollings. On arched feet of 

flat iron with incised patterning. 


; 
' 


Height, 42 inches; width, 381% inches. 


1384—SIxTEENTH CENTURY FLORENTINE CAST-IRON FIRE Back 


In the form of an architectural tablet with round-arched pedi- 
ment supported by volutes. Above is a winged mask, in low 
relief, and below a shaped molded escutcheon enclosing a female 
figure. On square molded base. 


Height, 24 inches; width, 25 inches. 


oe ae ee ee So 


Te ae 


(? 185—SIXTEENTH CENTURY FLORENTINE CaAstT-IRON Fire Back 


yo. Shaped as a rectangular tablet with molded frame, broken and 


Ba 


) 


chamfered angles and arched top. Flanked by voluted brackets 
and surmounted by voluted scrollings. Interior modeled, in low 
relief, with an oval coat-of-arms of the Della Rovere quartered 


with those of the Belmonte families, framed in a wreath of oak _/ 


leaves and acorns and surrounded by seven dancing and play- 
ing putti, flying draperies and scrollings. Below is a scrolled 
tablet with the date, partly obliterated by the action of the fire, 
fag 0 a oe 

Height, 85 inches; width, 42 inches. 


136—SrxTeentH Century FLORENTINE WROUGHT-IRON FENDER 


at? 


Formed of a plinth of wrought iron, with molded border top 
and bottom, scrolled and voluted with a turned handle in the 
center. 

Height, 44 inches; width, 25 inches. 


/ 4 
Yr G2 ff tarve 
q 


Pa 


/ 


ii/ 


SECOND AFTERNOON’S SALE 
WEDNESDAY, APRIL 24, 1918 
AT THE AMERICAN ART GALLERIES 


BEGINNING AT 2.80 O'CLOCK 


FIFTEENTH AND SIXTEENTH CENTURY BRONZE 
PLAQUETTES 


187—FirTEENTH CENTURY ITALIAN Bronze PLAQUETTE 
Octagonal shaped. Modeled, in low relief, with a Crucifixion 
realistically treated. The cross in the center and many Dis- 
ciples, Roman soldiers and Jewish priests stand around it. 


Height, 1% inches. 


188—FirreentH Century Irarian Bronze PLAQUETTE 
Irregular oblong shape. Modeled, in low relief, with an al- 
legorical subject of a reclining female figure. After an antique 


gem. 
Length, 214 inches. 


139—FourTEENTH CENTURY ITALIAN Bronze PLAQUETTE 
Rectangular shape, with molded frame. Modeled, in low relief, 
with the figure of St. Barbara carrying in one hand her sym- 


bolic tower, in the other a palm branch. 
Height, 184 inches. 


140—LatE Firrerenty Century Norru Irarian Bronze P1La- 
QUETTE BY MopERNO 
Rectangular shape. Modeled, in low relief, with a subject of 
the Centaur Nessus carrying off Dejanira. By Il Moderno 
(Fifteenth and Sixteenth Centuries). 
Height, 134 inches; width, 134 inches. 


Other examples are in the Louvre and Berlin Museums. Illustrated. 
Berlin Catalogue, Plate LII. 


141—FirreentH CENTURY Bronze PLAQUETTE BY TOPPA 
Rectangular shape, with raised frame. Modeled, in low relief, 
with “Rape of Ganymede.” Above, Ganymede, seized by the 
Eagle of Jove, is seen in the sky. Below are three horsemen, 
and in the center are three dogs. By Ambrogio Foppa—I] 
Caradosso (1452-1526). 
Height, 2 inches; width, 2 inches. 


Other examples are in the Louvre and Berlin Museums. ITlustrated. 
Berlin Catalogue, Plate LVIII. 


142—FivrEENTH CENTURY PapUAN BroNZzE PLAQUETTE 

Rectangular shape. Modeled, in low relief, with an elaborate 
‘Deposition from the Cross.” Leaning against the arms of 
the cross are two ladders, on each of which stands a Disciple, 
one lifting down the body of our Lord, the other receiving it. 
Around the foot of the cross are other figures. Silvered. By 
a Paduan follower of Mantegna, after an engraving by An- 
drea Mantegna (Bartsch, No. 4). 

Height, 284 inches; width, 2 inches. 


Other examples are in the Louvre and Berlin Museums. Llustrated. 
Berlin Catalogue, Plate LIV. 


143—F irrrentu Century NortuH [rattan Bronze PLAQUETTE BY 
Moprrno 

Rectangular shape, with raised frame. Modeled, in low relief, 

with an elaborate architectural niche, occupied by a seated fig- 

ure of the Virgin holding the Child Christ. Above are flying 

angels and festoons and below is a sculptured sarcophagus 

flanked by nude figures. By Il Moderno (Fifteenth and Six- 
teenth Centuries). 

Height, 284 inches; width, 214 inches. 


Other examples are in the Louvre and Berlin Museums. Illustrated. 
Berlin Catalogue, Plate L. 


144—SIXTEENTH CENTURY FLORENTINE BRONZE PLAQUETTE 


Rectangular shape. Modeled, in low relief, with an allegorical 
figure of a Nymph symbolizing Architecture. 


Height, 3 inches; width, 214 inches. 


145—FIFTEENTH CENTURY VENETIAN BronZE BAS-RELIEF 
Modeled, in low relief, without background, with a standing 
figure of the Virgin, holding on her left arm the undraped 
Child Christ. On octagonal base, denoting its original use as a 


finial. 
Height, 3 inches. 


146—FIrTEENTH CENTURY PApDUAN BRONZE PLAQUETTE BY Foppa 

Rectangular shape, with molded frame. Modeled, in low relief, 

with a subject of a “Flagellation.” Christ tied to a column, 

forming a colonnade surmounted by a rich entablature, is being 

scourged by two Roman soldiers. By Ambrogio Foppa (1452- 
1526). 

Height, 2°4 inches; width, 2 inches. 

Other examples are in the Louvre and Berlin Museums. Illustrated. 


Berlin Catalogue, Plate LVIII. The plaquette closely resembles Man- 
tegna’s engraving of the “Flagellation.” (Bartsch, No. I.) 


147—FIrTreEENTH CENTURY ITALIAN Bronze BASs-RELIEF 
Shaped in the form of a Tabernacolo frame, with circular pedi- 
ment and cornice, pilasters and molded base. Occupied by a— 
round-arched niche, modeled, in low relief, with the figure of 
the Virgin adoring the Child Christ. 


Height, 314 inches; width, 1% inches. 


148—FrtrEENtTH CENTURY PiIsAN BronZE BAS-RELIEF 
Shaped as a trefoiled and pointed-arched panel flanked by two 
Gothic buttresses, surmounted by a pointed crocketed gable 
and pierced and modeled, in low relief, with a figure of Christ 
on the cross with the Virgin and St. John on either side. 


Height, 3% inches; width, 2 inches. 


Another very similar example in the Berlin Museum. Illustrated. 
Catalogue, Plate XX XVII. 


149—F rereentu Century [rattan Bronze PLAQUETTE BY ENZOLA 


Oval shape, with raised border. Modeled, in low relief, with 
“St. George and the Dragon.” The Saint, on horseback, is 
transfixing the Dragon with his spear, while in the background 
kneels the daughter of the king of Lydia. By Giovanni Fran- 


cesco Enzola (Fifteenth Century). 
Diameter, 2 inches. 


Other examples are in the Louvre and Berlin Museums. Illustrated. 
Berlin Catalogue, Plate X LIX. 


(Illustrated) 


150—SIXTEENTH CENTURY FLORENTINE BRONZE PLAQUETTE 


Rectangular shape. Modeled with a standing figure of the 
Virgin holding the Child Christ, to whom a standing infant 


St. John tenders fruit. 
Height, 234 inches; width, 134 inches. 


(Illustrated) 


151—SIXTEENTH CENTURY FLORENTINE BronNZE PLAQUETTE 
Rectangular shape. Modeled, in low relief, with an allegorical 
figure in sixteenth century costume, holding a scepter. 
Height, 234, inches; width, 134 inches. 
(Illustrated) 


152—-SIXTEENTH CENTURY FLORENTINE BRONZE PLAQUETTE 
Rectangular shape. Modeled with an allegorical figure of Time 
carrying his symbolic scythe and holding an infant in his arms. 
Height, 3 inches; width, 214 inches. 
(Illustrated) 


153—SIXTEENTH CENTURY NUREMBERG Bronze PLAQUETTE BY 
FLOTNER 

Symbolic figure of “Music.” A female figure in loose robe 

playing upon a pipe. In front of her is an organ. Background 

pointillé in scrolls. By Peter Flotner (d. 1546) of Nuremberg. 


Another example, in lead, is in the Medieval Room of the British 
Museum. Illustrated, Guide, Fig. 166. 


(Illustrated) 


151 


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154—F IF TEENTH CENTURY FLORENTINE BRONZE PLAQUETTE 


Rectangular shape. Modeled, in low relief, with a Baccha- 
nalian subject of Silenus riding upon a lion with ruins in the 
background. 

Height, 3 inches; width, 214 inches. 


155—FIFTEENTH CENTURY FLORENTINE BrRoNZE PLAQUETTE 


Rectangular shape. Modeled, in low relief, with a Baccha- 
nalian subject of Silenus astride a wine-barrel, with satyrs and 
an ape. 

Height, 3 inches; width, 214 inches. 


156—FIFTEENTH CENTURY PADUAN BRONZE PLAQUETTE 


Rectangular shape. Modeled, in low relief, with a square panel 
surrounded by a scrolled border and occupied by a seated figure 
of the Virgin with the undraped Child Christ on her lap. On 
either side stand boy angels. By an anonymous follower of 
Mantegna. 

Height, 3 inches; width, 214 inches. 


157—FrTEENTH CENTURY NortH Iranian Bronze BucKLE 
Oval shape, with frame formed of a wreath, putt? and scrollings. 
(\\ / Within is a half-length figure, modeled in low relief, of Judith 
ACA holding the head of Holofernes. 
Height, 3 inches. 


158—FirreentH CENTURY FLORENTINE Bronze PLAQUETTE 
Rectangular shape. Modeled, in low relief, with a Bacchanalian 
subject of Silenus upon an ass supported by Bacchantes. 


Height, 3 inches; width, 21/4, inches. 


159—F IFTEENTH CENTURY FLORENTINE BronzE PLAQUETTE 


Rectangular shape. Modeled, in low relief, with a Bacchanalian 
subject of nude Bacchantes drinking and an Ass. 


Height, 3 inches; width, 24/4, inches. 


160—F irrrentH Crentury Papuan Leap PLaQuETTEe By Riccio 
Rectangular-shaped, with chamfered angles. Modeled, in low 
relief, with a standing figure of Venus attended by Cupid, who 
stands clasping her knee. After an antique gem. By Andrea 
Briosco—I Riccio (1470-1532). 

Height, 334 inches; width, 244 inches. 
Other examples are in the Louvre and Berlin Museums. Illustrated 
in the Berlin Catalogue. 


161—SIXTEENTH CENTURY NortH ITALIAN BRONZE PLAQUETTE 
BY MopErRNO 
Rectangular shape. Modeled, in low relief, with a figure of St. 
Sebastian shown as a nude youth pierced with arrows, his hands 
tied behind his back to a Renaissance column. Modeled by Il 
Moderno (Fifteenth and Sixteenth Centuries). 
Height, 3 inches; width, 24% inches. 
Other examples are in the Louvre and the Berlin Museums. — Ilus- 
trated, No. 182, in Molinier’s ‘“‘Plaquettes,” and Berlin Catalogue, 
Plate LI. 


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154—F IF TEENTH CENTURY FLORENTINE BRONZE PLAQUETTE 


Rectangular shape. Modeled, in low relief, with a Baccha- 


nalian subject of Silenus riding upon a lion with ruins in the 
background. 


Height, 3 inches; width, 21, inches. 


155— FIFTEENTH CENTURY FLORENTINE BRONZE PLAQUETTE 


Rectangular shape. Modeled, in low relief, with a Baccha- 


nalian subject of Silenus astride a wine-barrel, with satyrs and 
an ape. 


Height, 3 inches; width, 24%, inches. 


156—FIFTEENTH CENTURY PADUAN BronZE PLAQUETTE 


Rectangular shape. Modeled, in low relief, with a square panel 
surrounded by a scrolled border and occupied by a seated figure 
of the Virgin with the undraped Child Christ on her lap. On 
either side stand boy angels. By an anonymous follower of 
Mantegna. 


Height, 3 inches; width, 244 imches. 


157—F Ir TEENTH CENTURY NortrH ITaLIAN Bronze Buckle 


Oval shape, with frame formed of a wreath, putti and scrollings. 


\) ,/ Within is a half-length figure, modeled in low relief, of Judith 
Al holding the head of Holofernes. 


Height, 3 inches. 


158—FlrreentTH CENTURY FLORENTINE Bronze PLAQUETTE 
Rectangular shape. Modeled, in low relief, with a Bacchanalian 
subject of Silenus upon an ass supported by Bacchantes. 


Height, 3 inches; width, 21, inches. 


159—FIrTEENTH CENTURY FLORENTINE Bronze PLAQUETTE 
Rectangular shape. Modeled, in low relief, with a Bacchanalian 
subject of nude Bacchantes drinking and an Ass. 


Height, 3 inches; width, 21, inches. 


160— FIFTEENTH CENTURY Papuan LEAD PLAQUETTE By RIcCcIO 
Rectangular-shaped, with chamfered angles. Modeled, in low 
relief, with a standing figure of Venus attended by Cupid, who 
stands clasping her knee. After an antique gem. By Andrea 
Briosco—I1 Riccio (1470-15382). 

Height, 334 inches; width, 214 inches. 
Other examples are in the Louvre and Berlin Museums. Illustrated 
in the Berlin Catalogue. 


161—SIxTEENTH CENTURY NortH [rauian Bronze PLAQUETTE 
BY Moprrno 
Rectangular shape. Modeled, in low relief, with a figure of St. 
Sebastian shown as a nude youth pierced with arrows, his hands 
tied behind his back to a Renaissance column. Modeled by Il 
Moderno (Fifteenth and Sixteenth Centuries). 


Height, 3 inches; width, 24 imches. 


Other examples .are in the Louvre and the Berlin Museums.  Ilus- 
trated, No. 182, in Molinier’s ‘“Plaquettes,” and Berlin Catalogue, 
Plate LI. 


162 163 164 


162—SrixTEENTH CENTURY FLORENTINE BRONZE PLAQUETTE 
Rectangular shape. Modeled, in low relief, with an allegorical 
figure of a Nymph reading a book. 


Height, 3 inches; width, 244 wches. 


163—SIXTEENTH CENTURY FLORENTINE BRronzE PLAQUETTE 


Rectangular shape. Modeled, in low relief, with an allegorical 
figure of “Truth” shown as a winged female gazing in a 
Muror. 

Height, 3 inches; width, 24, inches. 


164—SIxTEENTH CENTURY FLORENTINE BronzE PLAQUETTE 
Rectangular shape. Modeled, in low relief, with an allegorical 
figure symbolizing Architecture shown as a Nymph with her 
foot on a globe and holding a pair of Compasses. 


Height, 3 inches; width, 24 inches. 


165—SIxTEENTH CENTURY NortH ITALIAN Bronze PLAQUETTE 
Rectangular shape, with raised frame. Modeled, in low relief, 
with a subject, “A Roman Triumph.” Armed men, some bear- 
ing trophies, while others on horseback are issuing from the 
gate of acity. By one of the school of Moderno. 


Height, 2 inches; width, 3 inches. 


Other examples are in the Louvre and Berlin Museums. Illustrated. 


Berlin Catalogue, Plate LIV. 


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166 167 168 


166—SIXTEENTH CENTURY FLORENTINE BronzE PLAQUETTE 


Rectangular shape. Modeled, in low relief, with an allegorical 
figure of “Truth” gazing in a mirror. 


Height, 3 inches; width, 24, inches. 


167—SIXTEENTH CENTURY FLORENTINE BRONZE PLAQUETTE 


Rectangular shape. Modeled, in low relief, with an allegorical 
figure of Music, playing a mandolin. 


Height, 3 inches; width, 21/, inches. 


168—SIXTEENTH CENTURY FLORENTINE BronzE PLAQUETTE 
Rectangular shape. Modeled, in low relief, with an -allegorical 
figure. 
Height, 3 inches; width, 21/4 inches. 


169—FivtrENTH CrentTuRY Nortu [ranian Bronze PLAQUETTE BY 
Moprrno 

Rectangular shape. Modeled, in low relief, with a round- 

arched niche, in which is seated the Virgin, holding on her lap 

the Child Christ, with boy angels on either side and a decorated 

pedestal below. By Il Moderno (Fifteenth and Sixteenth 
Centuries). 

Height, 3 inches; width, 214 inches. 


Another example is in the Louvre Museum. Illustrated, No. 185, in 
Molinier’s “Plaquettes.”’ 


170 171 172 


170—SIxTEENTH CENTURY FLORENTINE Bronze PLAQUETTE 
~. Rectangular shape. Modeled, in low relief, with an allegorical 
figure of a Nymph with books at her feet. 


Height, 3 inches; width, 214 inches. 


171— SIXTEENTH CrentTury Bronze PLAQUETTE 
Rectangular shape. Modeled, in low relief, with an allegorical 
winged figure eating a loaf of bread, with a dog seated regard- 
ing him. 
Height, 3 inches; width, 21, inches. 


172—SIXTEENTH CENTURY FLORENTINE BRONZE PLAQUETTE 


Rectangular shape. Modeled, in low relief, with the standing 
figure of a Nymph with hands clasped and a vase by her side. 


Height, 3 inches; width, 214 imches. 


173—F IrTEENTH CENTURY PaAaDUAN Bronze PLAQUETTE 
Rectangular shape. Modeled, in low relief, with a square panel 
surrounded by a scrolled border and occupied by a seated figure 
of the Virgin with the undraped Child Christ on her lap. On 
either side stand boy angels. By an anonymous Paduan fol- 
lower of Mantegna. , 

Height, 3 inches; width, 214 inches. 


Another example is in the Berlin Museum. Illustrated. Catalogue, 
Plate XLVI. 


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174. 175 176 


174— SIXTEENTH CENTURY BoLOGNESE Bronze PLAQUETTE 
Rectangular shape. Modeled with an allegorical figure of a 
Nymph playing a harp. 

Height, 3 inches; width, 21, inches. 


175—SIXTEENTH CENTURY FLORENTINE BronzE PLAQUETTE 


Rectangular shape. Modeled, in low relief, with an allegorical 
figure of a Nymph pouring water from a bow] into a vase. 


Height, 3-inches; width, 24 inches. 


176— SIXTEENTH CENTURY FLORENTINE Bronze PLAQUETTE 
Rectangular shape. Modeled with an allegorical figure of a 
Nymph with broken pillar at her side at the base of which is a 
serpent. 

Height, 3 inches; width, 244 inches. 


177— FIrTEENTH CENTURY ITALIAN BRONZE PLAQUETTE 


Rectangular shape, with round-arched top. Modeled, in low 
relief, with a “Presentation in the Temple.” On the right side 
stands the Virgin, cradling in her outstretched arms the un- 
draped figure of the Child Christ as she presents him to the 
High Priest, who is seated on the left. In the background are 
large candlesticks. 

Height, 3°4 inches; width, 2 inches. 


(Illustrated) | 


178—FirtrENtH CENTURY ITALIAN Bronze PLAQUETTE 
Rectangular shape, with round-arched top. Modeled, in low 
relief, with a “Visit of the Magi.” On the right is seated the 
Virgin, holding on her lap the Child Christ. Kneeling in front 
of her is Caspar, one of the Magi, proffering his gift, while be- 
hind him stand his two companions holding vases. 
Height, 3°4 inches; width, 2 inches. 


(Illustrated) 


179—FierrentH Century Parmesan Bronzn PLaquerrs By En- 
ZOLA 
Rectangular shape, with chamfered sides. Modeled, in low re- 
lief, with a subject of an old man with hooded mantle walking 
and leaning on a staff. On the right is a castle, a vat of grapes 
and a vine. By Gianfrancesco Enzola (Fifteenth Century). 
Height, 234 inches; length, 3 inches. 


(Illustrated) 


180—F 1rTEENTH CENTURY ITALIAN Bronze PLAQUETTE By CoR- 
NIOLE 
Rectangular shape with round-arched top. Modeled, in low 
relief, with an “Entombment.” The body of Christ being laid 
in the tomb by the Disciples and Holy Women. In the dis- 
tance is Golgotha, surmounted by the three crosses, and Jeru- 
salem. By Giovanni delle Corniole (1470-1516). 


Height, 314 inches; width, 234 inches. 


Other copies are in the Louvre and Berlin Museums. Tlustrated, 


Berlin Catalogue, Plate LVII. 
(Illustrated) 


181—F irreentH Century BurGcunpiAn Bronze PLAQUETTE 
Rectangular shape, with round-arched top and fluted frame. 
Modeled, in low relief, with a “Nativity.” The Virgin and 
St. Joseph, under a tiled pent-roof, kneeling and adoring the 
Infant Christ. The border consists of a title below, “Nativitas 
Domini” (the Birth of the Lord), and a legend around the 
sides and arch, all in raised Gothic characters. 


Height, 2°4 inches; width, 2 inches. 
(Illustrated) 


181 


179 


182—SrxTEENTH CENTURY FLORENTINE BronzE PLAQUETTE 


Rectangular shape. Modeled, in low relief, with an allegorical 
figure of a Nymph holding a sword in one hand and a pair of 
scales in the other, symbolizing Justice. 

Height, 3 inches; width, 24, inches. 


183—FIrreEENTH CENTURY VENETIAN BRONZE PLAQUETTE 


Rectangular shape. with round-arched top. Modeled, in low 
relief,’ with a subject of Christ appearing to His Disciples 
after the Resurrection. In the center the figure of Christ with 
right hand upraised and on ‘either side five Disciples. Back- 
ground of a large gateway. Mounted as a pax in molded and 
acanthus-leaf decorated frame with scrolled and voluted brass 
cresting. By a master of the Venetian school. 
Height, 3% inches. 

Other examples are in the Louvre and Berlin Museums. Illustrated. 
Berlin Catalogue, Plate LX XI. 


184—FourTEENTH CENTURY PADUAN BRONZE PLAQUETTE BY 


PISANO 
Rectangular shape. Modeled, in low relief,-with a half-length 
figure of the Virgin, her face to the right, wearing a diadem, 
and with a hooded mantle, holding in both arms the undraped 
figure of the Child Christ. At either side are candelieri, with 
putti having-vases of flames on their heads, and below a festoon 
of-drapery. By Giovanni Pisano (1250-1329.). 
Height, 4 inches. 
Other examples are in the Louvre and Berlin Museums.  Illus- 


trated, No. 367, in Molinier’s “Plaquettes,” and Berlin Catalogue, Plate 
XEVI. . : 


185—LatEe FirreENtH CrentTury Nortu ITALIAN PLAQUETTE BY 


MoprERNO . 
Rectangular shape. Modeled, in low relief, with a “Presenta- 
tion in-the Temple.” In a vaulted interior the Virgin. extends, 
across an elaborately decorated altar, the undraped Child Christ 
to the High Priest, who faces her. Figures of St. Joseph and 
attendant priests complete the composition. By I] Moderno 
(J*ifteenth and Sixteenth Centuries). 

. : Height, 4 inches; width, 234 inches. 

Other examples are in the Louvre and Berlin Museums. Illustrated, 
No. 169, in Molinier’s “Plaquettes,” and Berlin Catalogue, Plate LI. 


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186—FourTeEENTH CrenTURY ITALIAN Bronze BAS-RELIEF 

Formed as a Tabernacolo frame with pointed pediment the 
tympanum occupied by a cherub with floral finial, two voluted 
pilasters and acanthus-leaf apron. The frame encloses a figure 
of Christ in ecclesiastical robes and wearing a mitre on the 
cross. In the angles are winged angels. ‘The Christ represents 
the famous Volto Santo of the Lucca Cathedral. 

Height, 3 inches. 


187—F erEENtH CentTURY Papuan Bronze PLAQUETTE 
Rectangular shape. Modeled, in low relief, with an elaborate 
“Deposition from the Cross.” Leaning against the arms of 
the cross are two ladders, on each of which stands a Disciple, 
one lifting down the body of our Lord, the other receiving it. 
Around the foot of the cross are other figures. By a Paduan 
follower of Mantegna, after an engraving by Andrea Man- 
tegna (Bartsch, No. 4). 


Height, 234 wmches; width, 2 inches. 


Other examples are in the Louvre and Berlin Museums. Illustrated. 
Berlin Catalogue, Plate LIV. 


188—FIrrrENTH CENTURY PADUAN Bronze PLAQUETTE BY Riccto 

Rectangular shape with raised frame. Modeled, in low relief, 

with a figure of St. Roch standing in a landscape, with build- 

ings and figures in the distance. He holds a Pilgrim’s staff 

and hat in his left hand, and with the right he points to the 

plague spot on his thigh. By Andrea del Briosco—I1 Riccio 
(1470-1532). 

Height, 3 inches; width, 214 inches. 

Molinier gives this plaque unhesitatingly to Vlocrino, whom he 


identifies with Riccio. Other examples are in the Louvre and Berlin 
Museums. Illustrated. Berlin Catalogue, Plate LXI. 


189—Larr FirrrENtH Century Papuan Bronze PLAQUETTE 
Rectangular shape. Modeled, in low relief, with a standing 
figure of St. Jerome with the symbolic lion at his feet. Signed 
“VLocRINO.” By Andrea Briosco—I1 Riccio (1470-1582). 


Height, 3 inches; width, 2 inches. 


Other examples are in the Louvre and Berlin Museums. Illustrated 
in Molinier’s “Plaquettes,” No. 248. M. Molinier has identified the 
plaquettes signed “Vlocrino” as being by Briosco (Il Riccio). 


189 


187 


191 


188 


190—Latre Firereenrn Century Norru Irartan Bronze Pua- 
QUETTE BY MopERNO 
Rectangular shape, with raised frame. Modeled, in low relief, 
with a figure of “Hercules Strangling the Nemean Lion.” 
Adapted by I] Moderno from a Syracusan gold coin of the fifth 
century B.C. 
Height, 3 inches; width, 24/4, inches. 


Other examples are in the Louvre, the Wallace Gallery and the 
Berlin Museums. Illustrated, No. 198, in Molinier’s ‘‘Plaquettes,” and 
Berlin Catalogue, Plate LIT. 


(Illustrated) 


191—SIxTEENTH CENTURY NortTH ITALIAN BRONZE PLAQUETTE 
BY Moprrno 
Rectangular shape. Modeled, in low relief, with a figure of 
St. Sebastian shown as a nude youth pierced with arrows, his 
hands tied behind his back to a Renaissance column. By II 
Moderno (Fifteenth and Sixteenth Centuries). . 


Height, 3 inches; width, 24 inches. 


Other examples are in the Louvre and Berlin Museums. Illustrated, 
No. 182, in Molinier’s “Plaquettes” and Berlin Catalogue, Plate LI. 


(Illustrated ) 


192—F IrrrENTH CENTURY NortHu ITALIAN BRronzE PLAQUETTE BY 
MopERNO 


Rectangular shape, with molded frame. Modeled, in low relief, 
with a subject of a “Pieta.” The upright, undraped body of 
Christ shown to the waist and supported by Mary Magdalene 
and St. John. Flanked by two candelabra supporting, by a 
festoon tied with scrolled ribbons, a tablet with the Sacred 
Monogram. Below, the sculptured front of the tomb forms a 
dado. By Il Moderno (Fifteenth and Sixteenth Centuries). 


Height, 314, inches; width, 214, inches. 


Another example is in the Berlin Museum. Illustrated. Catalogue, 
Plate L. 


198—FirreentH Century FLorentine Bronze PLAQUETTE 


Rectangular shape, with rounded ends. Modeled, in low relief, 
with a subject of “Apollo and Marsyas.” Marsyas hangs on a 
tree on the left, and on the right Apollo stands with his lyre 
and a miniature figure kneeling at his feet imploring mercy 
for Marsyas. After an antique in Lorenzo de’ Medici’s col- 
lection. 
Height, 3 inches; width, 21% inches. 
Another example is in the Berlin Museum. Illustrated in Cata- 
logue. 


194— FIFTEENTH CENTURY VICENZIAN BronzE PLAQUETTE BY 


BELuI 
Rectangular shape, with raised frame. Modeled, in low relief, 
with an “Ascension.” Above, a standing figure of Christ in 
the clouds with His right hand upraised, and flanked by angels. 
Below, the empty tomb, with Roman soldiers seated beside it 
asleep. Gilded. By Valerio Belli—called Valerio Vicentino 
(1465-1546). Height, 314 inches. 


Other examples are in the Louvre and Berlin Museums. Illustrated. 


Berlin Catalogue, Plate LIV. 


195—F IrTEENTH CENTURY F'ERRARESE BRONZE PLAQUETTE BY 


CASTELBOLOGNESE 

Rectangular shape, with round arched top. Modeled, in low 
relief, with a subject of the Adoration of the Magi. The Vir- 
gin, with the Child Christ on her lap, sits on the left, with St. 
Joseph behind her. Before her kneels Caspar, with his crown 
by his side, offering a vase, while behind him stand Balthasar 
and Melchior holding their offerings. In the background is a 
gabled building, and above, a star with a guiding ray of light. 
By Giovanni Bernardi da Castelbolognese (1496-1533) . 


Height, 4 inches; width, 21% inches. 


Other examples in the Louvre and Berlin Museums. Illustrated. 


Catalogue, Plate LXIX. 


196—FIFreeNtH CENTURY ITALIAN BRONZE PLAQUETTE 


Rectangular shape. Modeled, in low relief, with a “Deposi- 
tion.” The Virgin and St. John at the foot of the cross, sup- 
porting and weeping over the body of Christ. 

Height, 3 inches; width, 24% inches. 


197—Eariy Firreenta Century Patuan Bronze PLAQUETTE 

Rectangular shape. Modeled, in low relief, with a subject of 
the Crucifixion. Beneath a triple Gothic arched canopy is a 
figure of Christ on the Cross with His hands outspread, as 
though in benediction. At the foot of the cross is Mary Mag- 
dalene and on either side Disciples. In the background are 
Jewish Priests. Surmounted by a scrolled cresting. 

Height, 344 inches. 


198—SIxXTEENTH CENTURY PapUAN Bronze BaAS-RELIEF 

In the form of a Tabernacolo frame, with round arch sur- 
mounted by a palmette finial supported by twin pilasters on a 
molded base. Occupied by a figure of the Virgin seated on an 
elaborate throne holding the Child Christ on her lap and sur- 
rounded by cherubim with figures of St. Francis and other 
saints on either side and two kneeling figures below. By a 
Paduan Master influenced by Mantegna. 


Height, 4 inches; width, 2 inches. 


Other examples are in the Louvre and Berlin Museums. Illustrated. 
Berlin Catalogue, Plate XLVI. 


199—F IFTEENTH CENTURY NortH ITALIAN BRONZE PLAQUETTE BY 
Moprrno 

Rectangular shape, with molded frame. Modeled, in low re- 
lief, with a “Pieta.” The upright, undraped body of Christ 
shown to the waist and supported by Mary Magdalene and St. 
John. Flanked by two candelabra supporting, by a festoon 
tied with scrolled ribbons, a tablet with the Sacred Monogram. 
Below, the sculptured front of the tomb forms a dado. By Il 
Moderno (T'ifteenth and Sixteenth Centuries). 


Height, 3 inches; width, 2% inches. 


Another example is in the Berlin Museum. Illustrated. Catalogue, 
Plate L. 


200—F irTEENTH CrentuRY Papuan Bronze PLAQUETTE 
Rectangular shape. Modeled, in low relief, with a panel sur- 
rounded by a scrolled border and occupied by a ‘“‘Pieta.” The 
upright body of Christ, seen to the waist, supported on either 
side by the Virgin and St. John. With an inscription below 
“O DOMINE IESV xc.” By an anonymous follower of Mantegna. 


Height, 31, inches; width, 2% inches. 


Other examples are in the Louvre and Berlin Museums. TIlustrated. 
Berlin Catalogue, Plate LIV. 


195 


197 


201—F ivereentu Crntury ParmMEsaAN Bronze PLAQUETTE BY 
ENZOLA 
Rectangular shape, with molded and beaded frame. Modeled, 
in low relief, with a subject of “St. Jerome in the Desert.” ‘The 
Saint, with long beard, kneels in front of a crucifix placed amid 
the rocks on the right. On the left stands the Lion. By Gian- 
francesco Enzola of Parma (Fifteenth Century). 


Height, 2144 inches; width, 314 inches. 


Other examples are in the Louvre and Berlin Museums. Illustrated, 
page 63, of Molinier’s “Plaquettes,” and Berlin Catalogue, Plate XLIX. 


(Illustrated) 


202—FirTtreENtH CrnTUuRY ITanIAN BRONZE PLAQUETTE BY 
MopErNno 
Rectangular shape. Modeled, in low relief, with an “Entomb- 
ment.” The body of Christ being laid in a sarcophagus by 
St. John, Joseph of Arimathea and the Holy Women. In the 
center, Mary Magdalene upraises her arms in a gesture of de- 
spair. The front of the sarcophagus decorated with Scenes of 
the Passion, in low relief, and forming the lower panel of the 
plaquette. In the distance is Golgotha, surmounted by three 
crosses. By I] Moderno (Fifteenth and Sixteenth Centuries). 


Height, 3°4 inches; width, 234 inches. 


Other examples are in the Louvre and Berlin Museums. Illustrated. 
Berlin Catalogue, Plate L. 


(Illustrated) 


2083—FIrrEENTH CENTURY PapUAN Bronze PLAQUETTE 

Rectangular shape with molded frame. Modeled, in low relief, 
with two nude figures watching the gambols of infant Bac- 
chants, one of whom carries a vase of wine, another a basket of 
fruit. By a follower of the Paduan School. 

Height, 1% inches; width, 4 inches. 

Another example is in the Berlin Museum. Illustrated, Plate LY. 
(Illustrated) 


204—FIrrEENTH CrenturY ITALIAN Bronze Bas-RELIEF BY SANSO- 
VINO 

Pear shape. Modeled, in low relief, with a half-length figure of 

the Virgin. Gilded. By Jacopo Tatti—I] Sansovino (1486- 


1570). Height, 314 inches. 
(Illustrated) 


201 


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202 


205—FirTeEENTH CrentTurRY ITALIAN BRONZE BAS-RELIEF BY SANSO- 
VINO 

Pear shape. Modeled, in low relief, with a half-length figure 
of Mary Magdalene holding in both hands the symbolic vase of 
precious ointment. Gilded. By Jacopo Tatti—I] Sansovino 

(1486-1570). 
Height, 314 inches. 

(Illustrated) 


206—FIFTEENTH CENTURY FLORENTINE BRONZE BAS-RELIEF BY 
SANSOVINO 
Pear-shaped. Modeled, in low relief, with a half-length figure 
of St. John the Divine holding in one hand a scrolled label. 
Gilded. By Jacopo Tatti—I] Sansovino (1486-1570). 


Height, — inches. 
(Illustrated) 


207— FIFTEENTH CENTURY FLORENTINE BAS-RELIEF BY SANSOVINO 
Modeled, in low relief, and without background with a half- 
length figure of the Virgin holding, on her left arm, the Child 
Christ. By Jacopo Sansovino (1477-1570). 

Height, 3 inches. 
(Illustrated) 


208—FIrTEENTH CENTURY ITALIAN BRONZE BAS-RELIEF BY RossEL- 
LINO 
Modeled, in low relief and without background, with three- — 
quarter-length figure of the Virgin seated and supporting on 
her knee the Child Christ dressed in a tunic and holding a bird 

in His hand. By Antonio Rossellino (1427-1479). . 


Height, 51, inches. 
(Illustrated) 


209—F IrTEENTH CENTURY FLORENTINE Bronze Bas-RELIEF 
Modeled, in low relief and without background, with the seated 
figure of the Virgin with her right hand upraised. She sup- 
ports on her lap the Child Christ, who holds in His hand some 
fruit He has taken from a dish presented to Him by an infant 
St. John the Baptist. 


Height, 4 tnches. 
(Illustrated) 


206 209 


210—SIXTEENTH CENTURY FLORENTINE Bronze PLAQUETTE BY 
SANSOVINO 

Rectangular shape. Modeled, in low relief, with a subject of 
“Our Lady of Loreto.” The figure of the Virgin seated on 
the roof of a church and holding on her knee the erect figure 
of the Child Christ. In the distance is the Campanile of the 
Chiesa della Casa Santa, at Loreto, and below are cherubim. 
By Jacopo Tatti—I Sansovino (1486-1570). 


Height, 434 inches; width, 4 inches. 


Another example is in the Berlin Museum. Illustrated, Catalogue 
Plate LX XXII. 


211—FIrTEENTH CENTURY NortH ITALIAN BRONZE PLAQUETTE 
Rectangular shape, with molded frame. Modeled, in low re- 
lief, with a “Deposition in the Tomb.” The disciples and Holy 
Women laying the body of Christ in the tomb. In the distance 
is Golgotha, crowned with crosses. Completely gilded. 


Height, 444 inches; width, 314 inches. 


212—FirtrentH Century Papuan Bronze PLAQUETTE 
Rectangular shape, with molded frame and scrolled cresting 
with ring for suspension. Modeled, in low relief, with a full- 
length figure of the Virgin surrounded by Angels. Holding 
the Child Christ in her arms, she stands on a terrace with an 
ornamented balustrade. Behind her is an architectural niche, 
while two of the angels, standing on columns, hold a double 
floral festoon above her head. By a Paduan influenced by 
Mantegna. 
Height, 51, inches; width, 34% inches. 
Other examples are in the Louvre, Victoria and Albert, and Berlin 
Museums. Illustrated, Berlin Catalogue, Plate XLVI. 


213—Firreento Century I[rantiAn Bronze BAS-RELIEF 


Modeled, in low relief, and without background, with a standing 
figure of the Virgin holding in her arms the Child Christ. 


Height, 5 inches. 


214—FIFTEENTH CENTURY PADUAN BronzE PLAQUETTE 
Rectangular shape, with molded frame. Modeled, in low relief, 
with the Virgin seated on a throne with gryphon supports and 
a high back surmounted by angels, supporting in her lap and 
suckling the Child Christ, who is clothed in a tunic. By a 
Paduan Master influenced by Mantegna. 


Height, 51% inches; width, 3% inches. 


Other examples are in the Louvre and Berlin Museums. Illustrated. 
Berlin Catalogue, Plate XLVI. 


(Illustrated) 


215—F irrreNtH Century IraLiAn Bronze PLAQUETTE BY SANSO- 
VINO 

Rectangular shape, with molded frame. Modeled, in low re- 
lief, with a Virgin seated under a canopy on a stone seat, with 
a vase of lilies beside her, a closed book in her right hand and 
with her left holding on her lap the Child Christ. Standing 
at her side and looking upwards is the infant St. John the 
Baptist. By Jacopo Tatti—I] Sansovino (1486-1570). 


Height, 614 inches; width, 44% inches. 


Other examples are in the Louvre and Berlin Museums. Illustrated, 
Berlin Catalogue, Plate LX XI. 


(Illustrated) 


216—Firrrenty Century Minanrese Bronze PLAQUETTE 
Rectangular shape. Modeled, in low relief, with a bust por- 
trait in profile of Gian Galeazzo Visconti, shown as a young 
man, clean shaven save for a pointed goatee and dressed in a 
closely buttoned jerkin. Inscribed, in raised Roman letters, 
“IOANNES GALEACIVS.” Possibly by Vittore Pisano—Pisanello 
(1380-1451). 
Height, 61% inches; width, 5 inches. 
Of Gian Galeazzo Visconti, the great Duke of Milan who for seven- 
teen years (1885-1402) threatened the freedom of all Italy, Pisano 
made a famous medal which has now disappeared. There is a silver- 
point portrait of Gian Galeazzo by Pisano in the Louvre. It is highly 
probable that, as Signor Bardini believes, this isthe only example of 


this plaquette in existence. 
(Illustrated) 


a. 
i 
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217—FirteENtH CEentTurY ITALIAN Bronze BAs-RELIEF 
In the form of a Tabernacolo frame. Circular pediment, cor- 
nice and frieze supported by pilasters with figures of saints on 
either side and molded base with scrolled plinth. Enclosing a 
figure, modeled in low relief, of the seated Virgin holding the 
Child Christ. Gilded. 


Height, 4 inches; width, 2% inches. 


218—Latr FirrreNtH CENTURY BoLoGNESE PLAQUETTE 
Rectangular shape. Modeled, in low relief, with an “Kntomb- 
ment.” The undraped figure of Christ being laid into the tomb 
by figure in tight-fitting costume. At either side stand the 
Virgin and St. John. In the distance, on one side, is Golgotha, 
with the three crosses, and above are clouds. By an anonymous 
Bolognese artist. | | 

Height, 414 inches; width, 4 mches. 


Another example is in the Berlin Museum. Illustrated. Cata- 
logue, Plate LIV. 


219—F irreENTH CENTURY FLORENTINE Bas-RELIEF BY DA MAIANO 
In the form of a Tabernacolo frame with round-arched top, 
square molded pilasters and molded base. - Occupied with a 
figure of the Virgin seated on a throne under a shell canopy 
and holding the undraped: Child Christ on her lap.. By Bene- 
detto da Maiano (1442-1497). . 

Height, 5 inches; width, 224 inches. 


Other examples are in the Louvre and: Berlin Museums. Illustrated. 


Berlin Catalogue, Plate XLV. 


220—Firrrenta Century Papuan Bronze PLAQUETTE 

Rectangular shape, with round-arched top. Modeled, in low 
relief, with a figure of the Virgin looking to the left and holding 
on her lap the undraped Child Christ, surrounded by cherubim. 
Mounted as a Pax in a Tabernacolo frame, with pointed pedi- 
ment surmounted by a figure of the Deity holding an orb and 
flanked by figures of St: Gabriel.and the Virgin. Frieze incised 
with an Ave Maria inscription and supported by two cylin- 
drical Doric pilasters. Broken base and plinth incised with 
Latin inscription. At the sides are panels of niello work. Par- 
tially gilded. By a Paduan master influenced by Mantegna. 


Height, 6 inches. 
(Illustrated) 


No. 220—FirreentH Century Papuan Bronze PLAQUETTE 


221—FirreEENTH CENTURY FLORENTINE BRONZE PLAQUETTE BY 
VERROCCHIO 
Rectangular shape. Modeled, in low relief, with a “Deposi- 
tion.” The undraped body of Christ being lowered to the 
ground by weeping women and Disciples. In the background 
is the cross, treated decoratively rather than realistically. By 
Andrea Verrocchio (1432-1488). — 


Height, 5 inches; width, 31% inches. 


(Illustrated) 


222——FirTEENTH CENTURY FLORENTINE BRONZE PLAQUETTE BY 
MoprErNo 

Rectangular shape. Modeled, in low relief, with a “Flagella- 

tion.” In the center, tied to a pillar, is Christ, undraped, save 

for a loin cloth. On either side stand Roman soldiers, partially 

draped, wielding scourges. By I] Moderno (Fifteenth and Six- 
teenth Centuries). 

Height, 644 inches; width, 5°4 mches. 


Another example is in the Louvre Museum. 


(Illustrated) 


223—SIXTEENTH CENTURY FLORENTINE BRONZE INTAGLIO SEAL 


Circular shape. Intaglio-engraved with a subject of St. Fran- 
cis of Assisi receiving the Stigmata. The Saint in a monk’s 
robe kneels in the center, with rays proceeding to his out- 
stretched hands and feet from a winged seraph hovering above 
him. In the distance are trees, and on the right a church porch 
with Leo, St. Francis’ disciple, standing in the open doorway. 
Surrounded by a border of inscription in Lombardic characters. 

This seal was probably in use at the Franciscan Monastery of ” 


Assisi. 
_ Clllustrated) 


e 


Fg pee ttc a RE LE CNL eA 
fr 3 


penne 


222 


221 


224—FIrreEENTtTH CENTURY ITALIAN Bronze BAS-RELIEF 
Modeled, in low relief and without background, with a standing 
figure of the Virgin holding in her arms the undraped Child 


Christ. Gilded. 
Height, 5 inches. 


(Illustrated) 


225—FirrEENTH CENTURY VENETIAN BronZE Bas-RELIEF BY Lom- 
BARDI . 
Modeled, in low relief and without background, with standing 
figure of the Virgin holding in her right arm the Child Christ. 
On semicircular bracket. By Tullio Lombardi (1460-1532). 


Height, 6 inches. 


Another example in the Berlin Museum. Illustrated. Catalogue, 


Plate LXII. 
(Illustrated) 


226—Earity FirrrentrH Century Bas-RELIEF BY DONATELLO 
Standing figure of the Virgin, with hooded mantle and halo, 
holding on her left arm the undraped Child Christ. Completely 
gilded. By Donato de’ Bardi—Donatello (1383-1466). 


Height, 7 inches. 
(Illustrated) 


227—FIrrrENTH CrnTURY ITALIAN Bronze BAS-RELIEF BY 
MicHELOZZI 

Modeled in the form of a 'Tabernacolo frame with crocketed 
Gothic arched top and “poppy” finial, paneled pilasters and 
molded base. Occupied by a three-quarter-length figure, mod-. 
eled in low relief, of the Virgin supporting the Child Christ on 
her left arm. Above are two flying angels holding a crown 
over her head. By Michelozzo Michelozzi (1396-1470). 


Height, 7 inches; width, & inches. 


Other examples are in the Louvre and Berlin Museums. Illustrated. 
Berlin Catalogue, Plate XLII. 


228—SIxTEENTH CrEentTURY ITALIAN Bronze PLAQUETTE BY Lom- 
BARDI 

Oval shape, with molded frame. Modeled, in low relief, with 

an “Assumption of the Virgin,” having the figure of the Vir- 

gin standing, within a mandorla, upon a crescent supported by 

a cherub and surrounded by a border of cherubim, some of whom 

are playing upon musical instruments. Modeled by Tullio 
Lombardi (1460-15382). 

Height, 7 inches; width, 41% mehes. 


Other examples in the Louvre and Berlin Museums. Described in 
Molinier’s “Plaquettes,” No. 440. Illustrated, Berlin Catalogue, Plate 
LXII. 

(Illustrated) 


229—FIFTrEENTH CENTURY PapuUAN BronZE Bas-RELIEF 
5 0 Modeled, in low relief and without background, with the stand- 
ing figure of a Bishop in mitre and episcopal robes. On semi- 
hexagonal molded bracket with ball pendant. 


® 


Height, 7 inches. 
(Illustrated) 


230—FirrreNtH CENTURY VENETIAN BroNZE BAS-RELIEF 
Modeled, in low relief and without background, with the figure 
0 of St. Bartholomew in loose robes and holding the symbolic 
on knife of his martyrdom in his right hand. On semi-hexagonal 
molded and pointed bracket. 
Height, 61/4 inches. 
(Illustrated) 


229 


230 


46u4r 


231— Fir TEENTH CENTURY FLORENTINE’ BRONZE PLAQUETTE BY 
RossELLINO 

feo. 8e Rectangular shape, with round-arched top and molded frame. 
modeled, in low relief, with an “Adoration.” The Virgin, under 
-a pent-roof, kneels in adoration of her Infant Son, who les in 
front of her with the infant St. John at His side. Above are 
clouds, the Sanctus Spiritus Dove and God the Father. By 

Antonio Rossellino (1427-1479). 


Height, 5 inches; width, 8% inches. 


Another example is the Berlin Museum. Illustrated. Catalogue, 


Plate XLV. 


232—S1txTEENTH CENTURY BRONZE PLAQUETTE BY SANSOVINO 
Rectangular shape. Modeled, in low relief, with the Virgin 
kneeling on the roof of a church. In her arms she holds the 
undraped Child Christ, against whose face she presses her own. 
In the distance is seen a campanile, while below are cherubim. 
By Jacopo Tatti—I] Sansovino (1486-1570). 


Height, 634 inches; width, 414 inches. 


(Illustrated) 


233—FIFTEENTH CENTURY IT‘LORENTINE BronzE PLAQUETTE 


Rectangular-shaped. Modeled, in low relief, with an “Entomb- 
— ment.”’. The Disciples, assisted by child angels, laying the dead 
_ body of Christ in the tomb. 


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Height, 684 inches; width, 5% inches. 
(Illustrated) 


S eeeuieneee , ee 


234—F IFTEENTH CENTURY FLORENTINE BRONZE PLAQUETTE 
Rectangular shape, with raised frame. Modeled, in low relief, 
5S with a subject of sportive amorini, some playing around a vase, 
one mounted on a donkey. . 
Height, 21% inches; width, 61% inches. 


(Illustrated) 


235—SIxTEENTH CENTURY ITALIAN Bronze PLAQUETTE 
Rectangular shape. Modeled, in low relief, with a subject of 
se a “Hunt with Huntsmen” in sixteenth century costume, on 
oor horseback and on foot. 
Height, 3 inches; width, 9 inches. 


(Illustrated) 


MISCELLANEOUS OBJECTS 


236—FirtrENtTH CENTURY NUREMBERG CoppER RosE WATER 
Disu | 

ape Circular shaped, with curved rim and turned-over edge, deco- 

4 rated in low relief, as to the interior, with a subject of “Adam 

and Eve and the Serpent in the Garden of Eden,” surrounded 

by a border of scrolled design. The rim decorated with incised 

quatrefoils and a border of pointed arch design. 


237—SIXTEENTH CENTURY NUREMBERG Brass Orrertory DIsH 
Circular shape, with flat rim. The center repoussé with a raised 
6 ,°°— boss surrounded by a quatrefoil design of pointed leaves be- 
tween sprays of tulip blossoms and lions and by a band of 
German inscription in raised Gothic lettering. The rim is 

stamped with a border of repeated trefoil pattern. | 


Diameter, 15 inches. 


* 


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238—SIXTEENTH CENTURY PERUGIAN PasticLia Box 

| Rectangular shape, with hinged lid. Covered with a raised deco- 
Bo a cae ration of animals, masks, flowers and scrolls in pastiglia or rice- 
paste. The interior of the lid has an oval escutcheon charged 
with a coat-of-arms, surmounted by a helmet and supported by 
half-length figures ending in scrollings and holding palm- 
branches. Completely gilded. 


Height, 24 inches. 


These pastiglia boxes, designed chiefly to hold jewels, were made 
only in Perugia. 


239—SEVENTEENTH CENTURY VENETIAN LACQUERED WoOoDEN 
PLAQUE 
Circular shape, with deep curved rim. Of wood lacquered in 
gold and red on a black ground, the interior with a design of 
birds, peony blossoms and branches, the rim with a border of 
vine-leaves, grapes and birds. 
Diameter, 17% inches. 


240—FIrTEENTtTH CrentTURY NurEMBERG Brass Derr DisH 
Circular shape, with narrow flat rim. Decorated in low relief, 
bores as to the interior, with a central circular medallion enclosing a 
subject of “The Annunciation” bordered by a German inscrip- 
tion in Lombardic characters and surrounded by a broad band 
of scrolled fruits and flowers. The rim decorated with fleurons 
at regular intervals. 
Diameter, 18 inches. 


A dish with a precisely similar center is in the Medieval Room of the 
British Museum. Illustrated, Guide, Fig. 6. 


241—SIXTEENTH CENTURY FLORENTINE SILVER GILT AND Bronzr 
CHALICE 
TS ae Straight-sided silver bowl, the lower part chased with acanthus 
ae leaves and scrolls; octagonal bronze stem inlaid with colored 
enamels, octagonal knop faced with quatrefoil-shaped panels 
enameled with figures of saints, spreading base modeled in 
relief with palmettes and scrolls and shaped molded foot. 


Height, 10 inches. 


242—ParR OF SIXTEENTH CENTURY VENETIAN ROCK-CRYSTAL 
ALTAR CANDLESTICKS 

Stems of baluster, vase and cylindrical shape of cut rock-crystal 

mounted in gilded bronze chased with acanthus-leaf borders, 

crystal bobéches, pointed bronze prickets and molded bronze 


feet. Height, 11 inches. 


=) ae 


243—SIxTEENTH CENTURY FLORENTINE Bronze Bow. 
Squat pear-shaped body, incurved cylindrical neck. Scrolled 
~ looped side handles and three molded paw feet. 


Height, 11 inches; diameter, 1614 inches. 


Go.,00 


244— SEVENTEENTH CENTURY ITALIAN CoprER BRAZIER 

y Oval shape, with molded sides and rim, repoussé with bands of 
no scrolled acanthus leaves. ‘T'wo leopards’ head handles holding 
swinging iron rings, and four paw feet. Fitted with brazier 
pan having rim repoussé with acanthus scrollings and two flat 
swinging engraved iron handles. 


Height, 101% mches; length, 18 inches. 


SIXTEENTH CENTURY FLORENTINE SILVER ALTAR CANDLE- 
STICK 


245 


Cylindrical stem with round, fluted and pointed-leaf enriched 

knop, octagonal spreading base with enameled decorations and 

| (O° beaded foot. Cut rock-crystal bobéche and pointed bronze 
pricket. 

Height, 1114 inches. 


246—FOURTEENTH CENTURY SIENESE GILT Bronze MonstrRANCE 
Made in the form of a reliquary, with Gothic lantern-shaped 
ee square top surmounted by a crocketed gable with traceried tym- 
panum and fléche surmounted by a crystal ball, flanked by pro- 
jecting trefoil-arched niche with fléches surmounted by crystal 
balls and front of rock-crystal. The stem is of cylindrical rock- 
crystal, with an elaborate hexagonal knop formed as arched 
niches with pinnacles and_ buttresses carrying the figures of 
saints, and the hexagonal foot is paneled and studded with 

jewels. The shaped spreading base has a pierced gallery. 
Height, 15 inches. 

(Illustrated) 


No. 246—Fovrreentru Crentrury SIENEsE Gitr Bronze Mons rk ance 


bo 


24 


7 


—FIFTEENTH CENTURY TUSCAN CaRVED, PAINTED AND GILT 


Woop ALTARPIECE 

Rectangular niche, with pointed canopy of Gothic arched 
tracery surrounded by a border of circular holes, surmounted 
by a semi-hexagonal canopy with carved pendants and cusped 
pointed arches surmounted by cusped gables and pinnacles, the 
spandrels occupied by Gothic leaf carvings, trefoils and a 
painted half-length figure of Christ, and flanked by spiral pil- 
lared buttresses having pointed-arch panels filled with paint- 
ings of saints and surmounted by crocketed gables and pin- 
nacles. On molded and carved stand with octagonal stem; 
molded knop and octagonal foot, carved with Gothic leaves and 
shields. Painted and gilded. 

Height, 63 inches. 

(Illustrated ) 


248—FIFTEENTH CENTURY FLORENTINE PastiGLiIA DEcorATED Box 


Rectangular shape. Hinged lid, with rounded edge, decorated 
with pastiglia fleurons. Body with molded cornice and base 
enriched with bands of pastiglia ornamentation and front deco- 
rated with a repeat of masks, grotesque figures and acanthus 
scrolls all in raised pastiglia. Completely gilded. 


Height, 7% inches; length, 23 inches; width, 18 inches. 


AN Carvep, PAINTED AND 


Gitt Woop ALTARPIECE 


USC 


Century T 


247—F Ir TEENTH 


oO. 


vk 


249 


250 


249—P air oF SIXTEENTH CENTURY FLORENTINE CARVED, PAINTED 
AND GILT ANGELS 
so Carved figures of angels with outstretched wings, curling hair 
and loose tunic and robe, kneeling on one knee and on the other 
supporting turned, baluster-shaped candlesticks with iron 
prickets for candles. On molded hexagonal bases. Painted in 
natural colors and gilded. 


Height, 12 inches. 


250—FiurereentH Century FrLorentine Carvep, Parnrep AND 
Gitt Woop AuTar Cross 

a Floriated cross, bordered with carved and gilt acanthus-leaf 
| crockets and turned pointed spindles, and occupied by a paint- 
ing of a crucifix with figure surmounted by an “I. N. R. I.” 
label and a figure of the Pelican feeding its young. In the 
floriations are paintings of God the Father above, and the Vir- 
gin and St. John at either side. On turned and painted stem 

and square base, with incurved sides and painted flutings. 


Height, 34 inches. 


rE eee 


251—LaTE SIXTEENTH CENTURY CARVED, GILT AND Parntrep Woop 


oOo 


ALTARPIECE 


-Round-arched niche, surmounted by a triple round-arched can- 


opy and a cresting of florid Gothic traceries, ending in pointed 
pinnacles and crocketed at the sides with flowers and leaves. 
The niche encloses on a projecting paneled base, carved with 
escutcheons, a crucifix; the cross, with floriated arms bordered 
by delicate Gothic traceries, is surmounted by an “I. N. R. I.” 
label, flanked by a sun and moon above and two flying angels 
below the arms. On either side are figures of the Virgin with 
head averted, and St. John gazing upwards. The figures are 
painted, the decorative carvings and background gilded. 


Height, 291% inches; width, 20 inches. 


252—EIGHTEENTH CENTURY Doccta PorcELAIN BRACKET CLOCK 


Enamel dial, with hours in’ Roman and minutes in Arabic 
numerals. Rectangular case of colored porcelain, with domed 
top of diapered open trellis-work pattern surmounted by a 
figure of Time with a scythe. In the center is a scrolled es- 
cutcheon painted with the coat-of-arms of the Ginori family 
and surmounted by scrolled acanthus leaves and putti with mu- 
sical instruments. ‘The cornice is molded and painted, and the 
chamfered angles are supported by voluted acanthus enriched 
brackets serving as pedestals for two figures emblematic of 
Literature and Music. ‘The dial plate is surrounded with a 
painted diaper of open trellis-work pattern; below are six putti, 
modeled in low relief, playing musical instruments, and the base 
is formed of a laurel-leaf band, with scrolled acanthus-leaf and 
lions’ paw feet. The movement is signed, “J. Robert et fils et 
Compagnie a la Chaux de Fonds,” and plays airs on a metal 
pipe organ. 
Height, 46 inches; width, 26 inches. 
This clock was made by workmen from Saxony who were imported 
by the Marchese Carlo Ginori in 1735 when he founded the Doccia fac- 


tory. It was purchased by Signor Bardini from the present Marchese 
Carlo Ginori. 


(Illustrated) 


No. 252—E1cHtTreento Century DoccrA Porcetarn Bracket Crock 


2583—FIrTEENTH CENTURY FLORENTINE CARVED AND GILT Woop 
CANDELABRUM 

Turned, fluted, voluted and carved columnar stem, with large 

vase-shaped fluted base with voluted brackets and fluted cir- 

cular foot. On cylindrical pedestal carved with reedings, vo- 

lutings and beadings, and carved circular base. Saucer-shaped 

bobéche, carved with gadroons and scrolled leaves. Gilded and 


painted. 
Height, 5 feet 214 inches. 
(Illustrated) 
254— FIFTEENTH CENTURY FLORENTINE CARVED AND GILT Woon 
CANDELABRUM 
ier ) Turned, fluted, voluted and carved columnar stem, with large 
'/ 7. |,” pear-shaped fluted base and circular foot, on square pedestal 


Cast with incurved sides carved with scrolled acanthus leaves and 
circular carved base. Saucer-shaped bobéche, carved with gad- 
roons and scrolled leaves. Gilded and painted. 


Height, 5 feet 3 inches. 
(Illustrated) 


255—SEVENTEENTH CENTURY ITALIAN STANDING DIAL 


Turned baluster-shaped stem, on molded circular foot sur- 
Jae% mounted by an armillary dial consisting of a series of brass 
rings, some engraved with equatorial divisions. 


Height, 40 inches. 


256—SEVENTEENTH CENTURY GENOESE TERRESTRIAL GLOBE 


Terrestrial globe of papier-maché, mounted on a wooden stand 

¢s,°° of annular shape, with turned projections and four voluted feet 
ending in lions’ paws. 

Height, 26 inches. 


ITALIAN MAJOLICA 


257—SIXTEENTH CENTURY Derruta MasoricA HAnpd WARMER 


Be Shaped as a Book of Devotions, with the sides decorated with 
ay five cinquefoil medallions, between which are triangular panels 
of scrollings. Invested with a blue glaze. 


Height, 31% inches; width, 6 inches. 


258—SIXTEENTH CENTURY FAaErnzA MAsoLicA ALBARELLO 
Cylindrical body, with incurved-neck and foot. Decorated, on 
a white ground, in blue and yellow, with a laurel-leaf wreath 
enclosing a horseshoe-shaped rayed figure surmounted by a 
cross and occupied by the initial “F.” 
Height, 81% inches. 
259-—SIXTEENTH CENTURY FArnzA MagsonicA ALBARELLO | 
Cylindrical body, with incurved sides, molded neck and carved 


tone foot. Decorated, on a white ground, with scrolled trefoil 


leaves and an oval panel of reserve painted, in outline, with a 
three-quarter-length figure of a man in monastic robe playing 
a cornemuse. Height, 8 inches. 


260—FIrTEENTH CENTURY SIENESE MagsonicA PHARMACY ALBA- 
RELLO 
Cylindrical body, with incurved sides, incurved neck and foot. 
Decorated, in blue and yellow on a white ground, with an oval 
laurel-leaf wreath enclosing a painting of a rooster and the 
name of a drug in Roman letters. Above and below, the em- 
ar 


blem of the monastery with the letter “s.” Bottom missing. 
Height, 10 inches. 


261—F IrTEENTH CENTURY DELLA RoppstA Masouica VASE 


Pineapple-shaped, on a molded foot, with surface modeled to 
simulate the fruit. (Foot faulty.) Invested with a blue glaze. 


Height, 81% inches. 


262— FIFTEENTH CENTURY DeERUTA MAJOLICA VASE 


’ |a** Pineapple-shaped, on molded foot, with surface modeled to 


simulate the fruit. (Cover missing.) Invested with a golden 
lustre glaze. Height, 81% inches. 


_2638—_F Ir TEENTH Century Derruta PINEAPPLE VASE 


_.» Of pointed pineapple shape on cylindrical stem and circular 
foot. Invested with a mottled lustred glazing of yellow, red 
and green. Originally designed without cover. (Foot faulty.) 

3 Height, 13% inches. 


264—FIrFTEENTH CENTURY DELLA RopptA PINEAPPLE VASE 


a Of pointed pineapple shape on cylindrical stem and circular 


foot. Originally designed without cover. Glazing of Della 
Robbia blue. 
Height, 15 incher 


260 


263 


265—Firrrentu Century Farnza Masonica PLATE 
Circular shape, with curved rim. Decorated, on a white ground, 


‘vas to the center with a circular medallion with orange back- 


ground occupied by the profile portrait bust of a young woman 
in fifteenth century costume, surrounded by bands of toothed 
and imbricated patternings in blue, white and orange. 


Diameter, 91% inches. 


266—SIXTEENTH CENTURY CAFFAGGIOLO Masorica PITCHER 
Pear-shaped body, with pinched-in rim and pointed spout. 
Decorated, on a white ground, in blue with a wreath of berries 


enclosing the letter “R.” (Handle missing.) 
Height, 10 inches. 


267—F IFTEENTH CENTURY Papua MagsoricA PLATE 


Circular shape, without rim. Decorated, on raised “stucco” 
work on a white ground, as to the center, with a scrolled shield 
./ charged with a coat-of-arms of a hound rampant, and sur- 
rounded by a deep border of acanthus-leaf scrollings proceed- 
ing from lions’ heads and separated by panels of honeysuckle 
ornamentation. 

Diameter, 10 inches. 


268—SIXTEENTH CENTURY Urpino Masouica Tazza 


Circular shape, with curved rim and circular foot. Decorated, 
ee. oP on a white ground, as to the center with a marine view. On the 
v3 right, a round tower with pinnacled roof and a church. On the 

left, a harbor with a ship having a lateen sail. Surrounded by 

a border of guilloche patterning. 
Diameter, 9% imches. 


269—SIXTEENTH CENTURY CAFFAGGIOLO MagsornicA PLATE 


Circular shape, with flat rim. Decorated, blue and brown, on 
white ground, as to the center with a circular medallion of 
radiations surrounded by a border of interlacements, and as to 
the rim with six semicircular radiations with trefoils between. 


ge 


Diameter, 7 inches. 


270—F rreentu Century Farenza Masorica PLATE 
i Circular shape, with a carved rim. Decorated, on a white 
Go | ground, as to the center with a circular medallion occupied by 
; fur the profile portrait bust of a young woman in fifteenth century 
costume, surrounded by bands of twisted ribbon and meander 
patternings. 
Diameter, 91% inches. 


ee 


Sha 


ae 


ea A 


nS 


Y la 


271—S1xTEENTH CENTURY FAENZA Magsonica PLATE 
Circular shape, without rim. Decorated in lustre on a white 
ground with a circular medallion occupied by the profile bust 
of a Roman statesman shown as a bearded man with aquiline 
nose and bald head, surrounded by a deep border of bold acan- 
thus-leaf scrollings, flowers and medallions. 


Diameter, 11 inches. 
(Illustrated) 


272—SIxTEENTH CrenTURY FAENZA Magsoxrica PLATE 

Circular shape, without rim. Decorated, on a white ground, as 
to the center with a statant heraldic gryphon holding in its 
front paws a shield charged with a cross and surmounted by 


a deep border of pointed ribbon interlacements. (Repaired.) 


Diameter, 18 inches. 
(Illustrated) 


273—SIXTEENTH CENTURY FLORENTINE GLAZED ‘'TERRA-COTTA 
Basket BY DertuA Roppia 


Circular cluster of fruits and leaves realistically modeled and 
glazed in natural colors. 


Diameter, 9 inches. 
(Illustrated ) 


274—SIXTEENTH CENTURY FLORENTINE GLAZED TERRA-COTTA BAS- 
KET BY DerLuA RoppidA 


Circular cluster of fruits and leaves, with a frog realistically 
modeled and glazed in natural colors. 
Diameter, 101% wmches. 


275—SIXTEENTH CENTURY FLORENTINE GLAZED TERRA-COTTA BAS- 
KET BY Dertita Ropsia 


Circular cluster of fruits and leaves, with a lizard realistically 
modeled and glazed in natural colors. 


Diameter, 101% wches. 
(Illustrated ) ’ 


276—SIXTEENTH CENTURY FLORENTINE GLAZED 'TERRA-COTTA 
BovuaquET BY Detia Rossia } 

Circular cluster of fruits and leaves, with a frog realistically 

modeled and glazed in natural colors. 


Diameter, 18 inches. 
(Illustrated) 


if re 


278—— 


FourTEENTH CENTURY PRIMITIVE OrviETO Masouica VASE 
Pear-shaped body, with incurved neck and two flat looped han- 
dles. Decorated, on a cream-colored ground in brown and 
manganese, with a band of scrollings containing trefoil flowers 


with hatched petals. 
Height, 7 inches. 
(Illustrated) 


SIXTEENTH CrentTuRY Farnza Masouica VAsE 
Bottle-shaped, with globular body and incurved cylindrical 
neck. Decorated in blue, on a white ground, with an all-over 
patterning of heart-shaped and acanthus-leaf scrollings. 


Height, 91% inches. 
(Illustrated) . 


279—SIXTEENTH CENTURY FAENZA MasouicA PHarmacy Ewer 


, 


Pear-shaped body, with incurved cylindrical neck, carved spout 
and flat straight looped handle. Decorated, on a white ground, 
with a wreath of acanthus leaves enclosing cornucopie, scrolls 
and a rectangular tablet inscribed “A creLmoNniA” in Roman 
letters. 
Height, 10 inches. 
(Illustrated) 


277 


279 278 


280—F irrEENTH CrntTuRY CaArraccioLo MasoiicaA Bow. 
Coupe-shaped bowl, decorated, on a white ground, as to the 
center of the interior with the emblem of St. Francis of Assisi, 
two clasped hands having above a cross and below a label with 
the word “repE” (faith), surrounded by a band of honeysuckle 
patterning and a rosetted border. 


Height, 8 inches; diameter, 11 inches. 


(Illustrated) 


281—F IrTEENTH CENTURY SIENESE Masouica 'Two-HANDLED VASE 

.— Pear-shaped body, with incurved neck and two flat looped han- 

dles. Decorated, on a white ground, with a wreath of laurel 

leaves tied and banded with scrolled ribbons and enclosing a 
shaped shield charged with a coat-of-arms. 

Height, 11 inches. 

(Illustrated) ; 


282—FirTEENTH CENTURY SIENESE MasoLica ‘lW0O-HANDLED 

a Puarmacy VASE 

1° Pear-shaped body, cylindrical neck and two twisted looped 
handles. Decorated, on a white ground, with horizontal bands 
of zigzag ornament, vertical panels of guilloche patterning and 
the body with a rectangular panel having the name “PAaNnTA 
SILEA” in Roman lettering. 


Height, 101% inches. 
(Illustrated) 


283 
~  Bottle-shaped, with ovolo body and incurved cylindrical neck. 
Decorated, on a white ground, with scrolled label inscribed in 
Gothic characters with the name of the drug, surrounded by 


floral scrollings with the emblem of the monastery below. (Rim 
faulty.) | 


SIXTEENTH CENTURY Farmnza MagsorticA PHarmacy VASE 


ON 


Height, 11 inches. 


281 


284— SIXTEENTH CENTURY FLORENTINE GLAZED TERRA-COTTA VASE 
Urn-shaped body, with incurved neck, circular foot and two dol- 
phin-shaped looped handles. Decorated, in low relief, the under 
part of body with flutings, the upper part with a band of inter- 
laced strapwork and the neck with a diaper of imbrications. In- 
vested with a blue glaze. With cover. 

Height, 11 inches. 


285—FirrEeENtH CrntTury Drtia RosprA Giazep TERRA-COTTA. 
VASE 
Urn-shaped body, with incurved neck, circular foot and two 
dolphin-shaped looped handles. Decorated, in low relief, the 
under part with a band of interlacements and the neck with a 
diapered pattern of imbrications. Invested with a light blue 


glaze. Similar to No. 284 but of earlier date. 
Height, 10 inches. 


Professor Allan Marquand, in his ‘Della Robbias in America,” 
illustrates, No. 54, a similar vase and bouquet, and calls attention, as a 
parallel, to the vase in the framework of the altarpiece at Verona by 
Giovanni della Robbia. A similar vase, too, is in the Victoria and 
Albert Museum, South Kensington, and is illustrated in M. L. Solon’s 
“Italian Majolica,” 1907, Fig. V. 


286—F irrEENTH Century Ursino Masonica 'Two-HANDLED VASE 
Pear-shaped body, with cylindrical neck and two upright 
looped handles with scrolled ribbon terminations. Decorated, 
on a white ground, with a floral and pointed-leaf wreath, tied 
with a knotted ribbon, enclosing, on a yellow ground, a painting 
of an amorino with outstretched wings brandishing a thyrsus. 


Height, 11 inches. 


287—SIxTEENTH CENTURY FArENzZA Masontica PHARMACY EWER 


iar?” 


Pear-shaped body, with incurved neck, straight spout with 
twisted support and flat straight looped handle. Decorated in 
reserve with an arabesque of scrolled acanthus leaves: and 
chimere and with a scrolled label of white reserve inscribed “a. 
ACETOSE” in Roman letters. 

Height, 13 inches. 


288—F irrrrentH Century Farnza Masonica PHarmacy EWER 
Pear-shaped body, with cylindrical neck, straight ringed spout 
and flat looped handle. Decorated in reserve, above, with acan- 
thus-leaf scrollings proceeding from a mask; below, with ro- 
settes and a cherub with outstretched wings; and between, with a 
label inscribed with the name of the drug in Roman letters: 


S.D. PAPAVER. 
Height, 91% inches. 


289—SrxteEntH Crentury Caste, DurANTE PHarMACcY VASE 


> Pear-shaped body with incurved neck, straight spout with 

twisted supporting brace and flat looped handles. Decorated, 

in blue and yellow, on an orange ground, with cornucopia, scrolls 

and dolphins and with a label in white reserve inscribed, in 
Roman letters, “EY° DINARI COSE.” 

Height, 11 inches. 


290—Patir or SIXTEENTH CENTURY FAENZA MasonicA PHARMACY 
ALBARELLI 


f 


| Cylindrical body, with incurved sides, molded rim and _ foot. 

2 et Decorated, on a white ground, with a scrolled label inscribed 

; with the name of the drug in Gothic characters with ornamental 

initials, surmounted by the figure of a rooster and with the 
emblem of the monastery below. 


Height, 13 inches. 
(Illustrated) 


291—SIxTEENTH CENTURY FAarnzA MagsoricA DrEer DisH 


~ Circular shape, with flat rim. Decorated, on a white ground, 
the center with a circular medallion enclosing an armorial shield 
surmounted by a Bishop’s Hat inscribed “b6 16” and sur- 
rounded by a band of acanthus-leaf scrolling in blue on an 
orange ground. The rim is decorated with a similar band of 
ornamentation. (Repaired. ) 


O- 


/ ci) 


Diameter, 14 inches. 
(Illustrated ) 


290 


292—F irrrentH Century Ursino Masorica Bown 
Circular shape, with scalloped rim and fluted sides. Decorated, 
ro” yd on a white ground, in blue and yellow, as to the center with a 
4 - | scrolled shield charged with a coat-of-arms, surmounted by a 
/ helmet and mantled with acanthus-leaf scrollings, within a cross- 
shaped shell formed by four oval panels connected by straight 
lines and occupied by floral and pointed-leaf arabesques. ‘The 
rim is bordered with a band of blue and white patterning. 


Height, 614 inches; diameter, 15 inches. 


298—SIXTEENTH CENTURY FarnzA Magozica Bown 


os Circular coupe-shaped. Decorated, on a white ground, as to 
late the center of the interior with a circular medallion occupied by 
a conventionalized dolphin, in colors, and as to the sides with a 

diapering of pointed-leaf scrollings in blue. 


Height, 8% inches; diameter, 171% inches. 


294—F IFTEENTH CENTURY DerrutA MasonuicA Drrp DisH 


Circular shape, with flat rim and reeded edge. Decorated, in 
lustre, the center with the bust profile portrait of a Roman Em- 
peror, the rim with alternate panels occupied by checkered dia- 


perings and floral and leaf scrollings. 
Diameter, 151% inches. 


295—Srxreentu Century FarnzA Masorica Bow. 


apo 


Circular coupe-shaped. Decorated, on a white ground, as to 
the center of the interior with a circular medallion occupied by 
fish, crabs and frogs in natural colors, symmetrically disposed, 
and as to the side with a diapered patterning of pointed-leaf 


scrollings in blue. 
Height, 9 inches; diameter, 18 inches. 


296—SIxTEENTH Century Ursino Masoiica Two-HANDLED VASE 

_-  Pear-shaped body, with two round looped handles with ram’s 
eee head terminations. Decorated, on a white ground, with an all- 
over patterning of floral and pointed-leaf arabesques, including 
chimere, and tablet dated “MDC” and a blank panel for a 
name. 


ly 


Height, 18 wmches. 
(Illustrated) 


297— FIFTEENTH CENTURY FAENZA MaAsonica PHARMACY 'Two- 
HANDLED VASE 


— Pear-shaped body, with incurved neck, annular foot, and two 

es dus twisted looped handles. Decorated with a scrolled oval es- 
cutcheon charged with a coat-of-arms, a hound rampant on a 

brown ground and having above a mask and acanthus-leaf 

scrollings, and below a label inscribed with the name of the drug 


in Roman letters. 


Height, 13 inches. 
(Illustrated) 


“ia, 


ee 
. 1) FOR 
- W . ins 2 Spee 


os 


298—FirreeENtH CrEentTurY CAFFAGGIOLO Magsouica 'Two-HANDLED 


290 —— 


VASE 

Pear-shaped body, with cylindrical neck, straight spout and two 
looped twisted handles. Decorated, on a white ground, with 
a rosetted wreath of laurel leaves banded with crossed ribbons 
and enclosing a scrolled egg-shaped escutcheon charged with a 
coat-of-arms quartered with that of the Medici family and sur- 
mounted by a radiated crown. 

Height, 19 inches. 

(Illustrated ) 


SIXTEENTH CENTURY FAaENZA MasoiicA PLAQUE 

Rectangular tablet, modeled, in basso-relievo, with a three- 
quarter-length figure of the Virgin in red robe, girded at the 
waist, a blue mantle semé with stars, and a linen veil. Her head ~ 
is inclined toward the right; she is standing and supporting with 
both hands the undraped Child Christ, who has His right arm 
thrown around His Mother’s neck and holds the neck of her 
robe with His left hand. Above are two angels with wings. 
In the lower left-hand corner is a panel painted with a subject 
of St. Francis receiving the stigmata. Glazed in natural colors. 


Height, 24 inches; width, 17 inches. 
(Illustrated ) 


300—FirrrentH CrEntTurRY CarraccioLo MasoticA PHARMACY 
V ASE 
Pear-shaped body, with high cylindrical neck. Decorated, in 
blue on a white ground, with a scrolled label inscribed with the 
name of the drug in Gothic characters with ornamental initials. 
Above is the emblem of the monastery. 


Height, 15 inches. 
(Illustrated ) 


301—Parir or SIxTEENTH CENTURY DerLLA Roppia MaAsonica 
Vases WITH Bouquets 

Pear-shaped bodies, with molded bands, cylindrical necks, an- 
nular feet, projecting voluted and acanthus-leaf scrolled han- 
dles, and raised spout apertures shaped as masks. Glazed in 
white and painted, with pear-shaped scrolled escutcheons sur- 
mounted by crowns and charged with the arms of the Medici 
family. ‘The bouquets are of terra-cotta modeled with fruits, 
flowers and leaves glazed in their natural colors. 


Height, 271% inches. 
(Illustrated ) 


301 


802 303 ( 302. 


302—Parr or EIGHTEENTH CENTURY CAPO pI MontTE PoRCELAIN 
VASES AND COVERS 


~ “~~ Pear-shaped bodies, cylindrical necks and domed covers. In- 
vested with a fine white glaze and painted in natural colors, the 
bodies with crater-shaped vases of roses, other flowers and 
leaves on rocky bases, the covers with floral sprays, and the 
necks in gold, with medallions and scrollings. (Finials re- 
stored. ) | 


1 


Height, 17 wmches. 


303—EIGHTEENTH CENTURY GERMAN PorRCELAIN PITCHER AND 
BAsE 


) 0° Pear-shaped body, with scrolled looped over-handle formed as 
- a dolphin, and turned-over lip. In front of the body is a half 
figure of Silenus, crowned with leaves, terminating in voluted 
scrollings and supporting a festoon of husk patterning. In- 
vested with a plain white glaze. On carved and gilded wooden 
pedestal supported on tripod of scrolled acanthus leaves with a 
molded triangular base. 
Height, 28 wches. 


This vase and pedestal came from the Borghese Palace, Rome. 


THIRD AFTERNOON’S SALE 
THURSDAY, APRIL 25, 1918 


AT THE AMERICAN ART GALLERIES 


BEGINNING AT 2.30 O'CLOCK 


COLORED STUCCO OF THE FIFTEENTH AND 
SIXTEENTH CENTURIES 


305 307 306 


ANTONIO DA SAN GAELO 
¢ Pay SIXTEENTH CENTURY 


vs 
0 305—SIXTEENTH CENTURY FLORENTINE COLORED ‘TERRA-COTTA 


Bust or St, JOHN THE BAPTIST 


\ 


Half-length figure of the Child Christ, with curling hair, par- 
tially robed and wearing a coral necklace with a cross as pen- 
dant. Colored naturalistically. 

Height, 9 inches. 


PIERINO DA VINCI 


(0 FirrEENTH CENTURY 


( 
abe 306—FIFTEENTH CENTURY FLORENTINE CoLoRED Stucco Bust 


Half-length figure of the Child Christ, with ringleted hair, and 
clothed in a loose-fitting tunic with embroidered collar. 


Height, 12 inches. 


FLORENTINE SCHOOL 


FIrrEENTH CENTURY 


307—F irteENtH CENTURY Stucco Porrrair MEDALLION 
(Circular medallion portrait of Cosimo de’ Medici (1884-1464) , 
oak “Pater Patriae.” Profile head, looking to the left in low relief, 
of an elderly man, wearing over a skull cap a Florentine bonnet. 
Around the rim is the name “costmus MEDICcCES.” Uncolored. 


Diameter, 16 inches. 


This is a study for one of the celebrated series of medals of Cosimo 
the Elder concerning which a storm of controversy has raged. For 
long they were attributed to Donatello. Armand and Heiss, however, 
give all four variants to Michelozzo, Friedlander to Niccolo Fiorentino, 
and Dr. Bode, finally, to Bertoldo di Giovanni. 


MATTEO CIVITALI 
1435—1501 


308—FIrTEENTH CENTURY ‘TERRA-COTTA 
Figure of St. Sebastian, shown as a nude youth with his hands 
(=) 
hy tied behind his back, standing against a rocky pedestal. ‘The 
: figure, which has preserved its original coloring, is placed in a 
round-arched niche having its background colored blue and semé 
with gilded stars. 


Height, 18 inches; width, 12 inches. 


This terra-cotta is a sketch by Civitali himself, for his life-sized 
marble statue of St. Sebastian now in the temple of the Voti Santi in 
the Cathedral of Lucca. This temple, the first contract for which was 
signed in 1482, is dated 1484, and offers abundant proof that, though 
Civitali worked as a sculptor during the greater part of his life, he was 
also a thoroughly accomplished architect. 


BENEDETTO DA MAIANO 
1442—1498 


309—F IF TEENTH CENTURY. FLORENTINE CoLoRED 'TERRA-COTTA 


iN | FIGURE 
Re, \) Seated figure of the Virgin, her head covered with a veil and 
ye wearing a red tunic and loose blue mantle. On her left knee she 


holds the seated Child Christ, who presses close to His Mother 
as though for protection. On irregular terra-cotta base. Nat- 
uralistically colored. 

Height, 18 inches. 


314 


308 


315 


310—FirTEENTH CENTURY FLORENTINE CoLoRED TERRA-COTTA 
) FIGURE 

> he Virgin, with bare head and clothed in a robe with embroid- 
ered border and blue mantle, sits upon a bench, with her left 
vi hand holding the standing nude figure of the Child Christ, who 
supports Himself with His arm thrown around His Mother’s 
neck. Her right hand the Virgin holds pressed against her 
breast. On octagonal terra-cotta base. Naturalistically col- 

ored. : 
Height, 18 inches. 


FLORENTINE SCHOOL 


FirreEENtH CENTURY 


311—FirrrEENTH CENTURY FLORENTINE COLORED 'T'ERRA-COTTA 


Group 
Seated figure of the Virgin, in red robe and flowing blue mantle, 
RN with the nude Child Christ sitting on her left knee. She points 
ANY with both hands to her heart, as she turns her head to gaze at 
x St. Elizabeth, who stands behind her. On circular molded base 
of terra-cotta, the-plinth decorated in relief with masks and 
dolphins. 


Height, 16 inches. 


| FLORENTINE SCHOOL 


FIrTEENTH CENTURY 


312—-SIxTEENTH CENTURY FLORENTINE CoLorED ‘TERRA-COTTA 

0 FIGURE 
ve * “St. John the Baptist in the Wilderness.” The youthful saint, 
with long, curling hair and clothed in-camel’s hair tunic over 
which is thrown a loose mantle, stands against a rocky ledge, 
his right arm extended with forefinger pomting. Above, on a 
ledge of rock, sits a small animal. On rocky base. Naturalisti- 


cally colored. 
Height, 17 inches. 


GIOVANNI BATTISTA TASSO 
fie 
\ : 14( ?)—1548 
3183—SixtrentH Crntury FLorENTINE CoLorEeD 'TERRA-COTTA 
' FIGURE 

“St. John the Baptist in the Wilderness.” The youthful saint 
; is shown seated on a pedestal of stratified rocks. He wears a 
aS. garment of goat-skin, holds in his left hand a scroll, and by his 

side, on the left, is the figure of a lamb. 


Height, 18 inches. 


Architect, ds wellgas sculptor, Tasso, though born in the fifteenth 
century, died an old man in the middle of the sixteenth century. 


~ 


FLORENTINE SCHOOL 


FirreENtTH CENTURY 


314—FirreentH CENTURY FLORENTINE COLORED TERRA-COTTA 
FIGURE 

“St. Francis of Assisi.” The saint is shown as the standing fig- 
ure of a middle-aged man with slight beard. He wears the 
robe of his Order, with a rope girdle. The left hand is pressed 
to his breast and in the right he holds a small book and a pouch. 
In hands and feet are shown the sacred “stigmata.” On square 
molded terra-cotta base. Naturalistically colored. 


Height, 21 inches. 
(Illustrated) 


FLORENTINE SCHOOL 


FIrreENtH CENTURY 


315—FourRTEENTH CENTURY BURGUNDIAN WALNUT Woop Cary- 
ING 


; aN “The Birth of the Virgin.” The Mother of the Virgin reclines 


in a low post-bed of the period, her head coifed with a linen cloth, 
and hands the infant Virgin to a nurse, who wears a Burgundian 
peasant’s cap. At side of the bed are seen various utensils. 


Height, 17 inches; width, 19 inches. 
(Illustrated) 


ANDREA DELLA ROBBIA 


FIFTEENTH CENTURY 


316—F IFTEENTH CENTURY FLORENTINE TERRA-corTA MEDALLION 
Circular medallion of terra-cotta, modeled with a bust portrait 
of a youth, shown in full face, with slightly curling hair and 
wearing a tunic and a mantle secured at the right shoulder with 


a brooch. In a contemporary richly carved and gilded wood 
frame. 


Diameter of terra-cotta, 15 inches; diameter of frame, 18 inches. 


(Illustrated) 


PIERO TORRIGIANO 
1472—1522 


317—SIxTEENTH CENTURY FLORENTINE COLORED ‘'TERRA-COTTA 


: FIGURE 
S Nude figure of St. Sebastian, his limbs tied tn ropes to a tree 
’\ trunk and the head fallen forward as if in the throes of dis- 
> solution. Around his waist he wears a knotted loin-cloth. His 


body shows the marks of wounds, and at.one side is the body 
armor of a Roman warrior and on the other the standing figure 
of a putto. On the tree is hung a quiver full of arrows. On 
irregular rocky base. Naturalistically colored. 

Height, 26 inches. 


Torrigiano is, perhaps, best known as the designer and sculptor of 


the tomb of Henry VII in Westminster Abbey, London. 
Ly A (Illustrated) 


ANDREA VERROCCHIO 
1432—1488 


# 818 FIrTEENTH CENTURY FLORENTINE CoLORED Stucco FIGURE 
4) / “Infant Hercules Strangling the Serpent.” Undraped. figure 

aN Vf of an infant with voluminous closely curling hair, leaning 

\) ( against a rock, lying upon one side and seizing with his right 


hand (now absent) the head of a serpent the body of which he 


holds in his left hand. Rectangular base of gesso duro. Colored ~ 


naturalistically. 
" #H eight, 24 inches; length, 27 inches. 


This stucco closely resembles a marble bas-relief by Verrocchio which 
formerly adorned one of the doors of the Palazzo Vecchio, Florence. 
Verrocchio, like so many of his contemporaries, began as a goldsmith and 
most of the works he has left to us are in bronze. He was an artist 
of great power, and among the pupils he influenced were Leonardo da 
Vinci, Lorenzo da Credi and Pietro Perugino. 


(Illustrated) 


820 


tae 


GIOVANNI DELLA ROBBIA 
1437—1528 


319—Firreento. Century FLoRENTINE COLORED ‘TERRA-COTTA 


°) Putt 
WA Figure of two nude children, or putti, disputing over a vase 
6 of fruit which stands between them. One, on the left, is stand- 
Ly’ i ing and brandishes in his left hand a fruit, while with his right 


he endeavors to withdraw another fruit from the vase. ‘The 
other putto, on the right, seated on a tree stump, restrains his 
companion. He has seized him by the right wrist and is biting 
his forefinger in an attempt to make him let go of the fruit. On 
rectangular terra-cotta base. Colored naturalistically. 


Height, 21 inches; length, 33 inches. 
(Illustrated) 


DESIDERIO DA SETTIGNANO 
1457—1485 


320—FirrrENTH CENTURY COLORED Stucco FIGURE 
Standing figure of the Child Christ, nude, with curling brown 
si hair and with the right hand raised in the act of benediction. 
; \) The left arm hangs by His side, the hand holding the symbolic 
. nails, supported by a fold of colored drapery. On rocky base 
0 and square pyramidal molded pedestal of colored stucco. 


Height, 22 inches. 


This is a replica, in colored stucco, of the marble figure by Desi- 
derio in the Church of San Lorenzo, Florence. 


(Illustrated) 


YY FLORENTINE SCHOOL 


¢) | FirTEENTH CENTURY 

2 

3291—FirreentH CENTURY FLORENTINE COLORED ‘TERRA-COTTA 
GROUP 


“Charity.” Shown as a beautiful woman of ripened charms, 
with long hair falling over her shoulders, dressed in a loose robe 
with one breast exposed and holding on her knee a nude child 
around whom her left arm is thrown as though in protection. 
Her right arm falls by her side and her hand holds that of an- 
other nude child, who stands by her side. One the right kneels 
yet another child. On rocky terra-cotta base. Naturalistically 
colored. 
Height, 21 inches. 
Dr. Bode attributes the group to the anonymous Florentine author 
of the “Struggling Children,” illustrated at p. 159 of “Florentine 


Sculptors of the Renaissance,” where it is assigned to the “School of 
Donatello.” 


FLORENTINE SCHOOL 


FIFTEENTH CENTURY 


322—Fivrrento Crentrury FLorENTINE COLORED PAPIER-MACHE 
Bust Portrait 


Bust-length portrait of St. Anthony, Archbishop of Florence. 

The saint is shown as an old man with emaciated features, thin, 
tightly closed lips, a partially bald head and an expression of 
great benevolence. He wears an ecclesiastical robe with hood 
thrown back at the shoulders and banded with a white orphrey 


patterned with crosses in red. On octagonal molded wooden 
base. 


Height, 20 inches. 


RE oe caste earee Sen 


FLORENTINE SCHOOL 


FIFTEENTH CENTURY 


323—SIXTEENTH CENTURY CoLorED Stucco Busr Portrait 
Bust-length portrait of an elderly man with long forked and 
curling gray beard and bald head. He wears a Senator’s robe. 
On octagonal base, painted and gilded. Naturalistically col- 
ored. 
Height, 23 inches. 


ae 


ALESSANDRO VITTORIA 
1525—1613 


324—SIXTEENTH CENTURY CoLORED Stucco Bust PorTRAIT 


Half-length portrait of a lady with bare head, the curling hair 
tightly drawn back from the forehead. She wears a close-fitting 
bodice buttoned up the front, a high collar and frilled ruff and 
sleeves puffed and slashed at the shoulders. In front is a 
scrolled tablet for the name. 

Height, 26 inches. 


This and the following bust came from a palace in Padua, belonging 
to an old family, of whose ancestors they are believed to be portraits. 
Of Vittoria it may be said that he was a pupil of Jacopo Sansovino, 
whose place he took after his death as the leader of Venetian artists. 
In that city of his adoption he has left a number of sculptural and 
architectural monuments to his undoubted talents. 


ALESSANDRO VITTORIA 
1525—16138 


325—SixreentH Century CoLorep Trrra-corra Porrrarr Bust 
Bust-length portrait of a middle-aged nobleman with partially 
bald head, full curling beard and mustache. He wears a tight- 
fitting jerkin with narrow turned-over collar and a fur-trimmed 
robe with puffed and slashed sleeves. Round his neck is a heavy 
linked chain with a cross and eagle as pendants. In front of 

the base is a voluted name tablet. 
Height, 30 inches. 


LUCA DELLA ROBBIA 
1400—1482 


326—FIrFTreEENTH CENTURY FLORENTINE CoLoRED Stucco Bas- 


RELIEF 
Rectangular tablet, modeled, in low relief, with a small three- 
sie quarter-length figure of the Virgin in red robe and blue mantle 
N\/ standing and supporting, with her left arm, the Child Christ, 
oe who stands by His Mother’s side, leaning His head against hers 


and with His arms around her neck. Colored naturalistically. 
In molded and carved frame of stucco. 


Height, 19 inches; width, 14 inches. 


PD PTR eS Sa 
. e < F : 


No. 326—FirreentH Century FLORENTINE COLORED 
Stucco BaAs-RELIEF 


NEROCCHIO BARTOLOMMEO DA SIENA 
1427—1500 


327—F rtrentH Crntury SIENESE CoLorED PAPIER-MACHE Bas- 


RELIEF 


y Rectangular round-arched tablet, modeled, in low relief, with a 


) 
j “\S three-quarter-length figure of the Virgin in a dark red robe 
(\ and blue hooded mantle. Her head is inclined toward the left, 
and she is seated and holds on her lap the Child Christ, in a red 
tunic, who raises His right hand in the act of benediction. Be- 
low is an inscription, “REGINA COEL. MARIA,” in Roman letters. 
In contemporary molded and painted wooden frame. 


Height, 28 inches; width, 171% inches. 


ER-MACHE BaAs-RELIEF 


E CoLorED Parr 


SIENES 


No. 827—FirrEENtTH CENTURY 


SO SLITS IER EE NNO a GE HAL, 
Lk ed Oh ee ee 
yo Seat ROAR RG SIAL 2S a SETTER ate Eine ss E 


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ty wan 


&. - 4 
ethanol Settee SSNS nn 


FLORENTINE SCHOOL 


{ Firreentu Century 


SIXTEENTH CENTURY FLORENTINE CoLORED Stucco Bas- 
RELIEF 


N vA 328 
Rectangular round-arched tablet, modeled, in low relief, with a 
full-length figure of the Virgin in red robe, seated on a chair 
with voluted arms and holding in both arms the Child Christ, 
who is nursing at her breast. Above, on either side, a cherub 
with outstretched wings. On rectangular base incised, in 
Roman letters, with an “avE MARIA” inscription. Colored nat- 
uralistically. In contemporary 'Tabernacolo frame of molded, 
carved, painted and gilded wood, with a molded, dentelled and 
egg and dart carved cornice and plain frieze supported by two 
fluted and astragalled Ionic pilasters. On molded base and 
apron. 

Height, 29 inches; width, 17% inches. 


SCHOOL OF SIENA 


na FIrrEENTH CENTURY 


329—FirreentH CENTURY SIENESE CoLorED Stucco BAS-RELIEF 


Rectangular tablet, modeled, in low relief, with a small three- 
quarter-length figure of the Virgin in red robe and blue hooded 
mantle. She holds in her arms the undraped Child Christ and 
restrains Him from leaping forward by clasping His right arm 
with one hand. Colored naturalistically. Im contemporary 
Tabernacolo frame of molded, carved, painted and gilded wood. 
Molded cornice with plain frieze supported on two fluted pi- 
lasters with Romanesque capitals. Molded base and shaped, 


scrolled and voluted apron. 
Height, 36 inches; width, 19 imches. 


ANTONIO ROSSELLINO 
1427—1490 


330—F ir trENTH CENTURY FLORENTINE CoLOoRED Stucco Ma- 


DONNA BY ROSSELLINO 


Rectangular tablet modeled, in low relief, with a three-quarter- 
length figure of the Virgin in a red robe with gold-embroidered 
border and blue hooded mantle looking to the right. She is 
seated in a chair and holds in her lap with both hands the 
undraped Child Christ, wearing a necklace of beads with a 
cross pendant. The background is occupied by a festoon and 
pendants of cherries and leaves. Within a rectangular stucco 
frame, molded and decorated in relief with bands of reel and 
bead and acanthus-leaf ornamentation on a paneled base deco- 
rated, in relief, with a vase and rinceaux of acanthus leaves and 
flowers. 

Height, 24 inches; width, 1634 inches. 


LUCA DELLA ROBBIA 
1400—1481 


331— FIrreENtH CENTURY FLORENTINE CoLorED Stucco Bas- 


Av 


RELIEF 
Rectangular tablet, modeled, in low relief, with a half-length 
figure of the Virgin in red robe and blue hooded mantle, stand- 
ing and holding with both arms the Child Christ in linen tunie. 
He presses His face close to His Mother’s and with the left 
hand clasps a fold of her mantle. Colored naturalistically. In 
contemporary molded, painted and gilded wood 'Tabernacolo 
frame. Pointed pediment, with molded cornice and plain frieze 
supported by two pilasters with fluted shafts and capitals. On 


molded apron. 
Height, 37 inches; width, 20 inches. 


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DESIDERIO DA SETTIGNANO 
1457—1485 


332—FirrrENtH CENTURY FLORENTINE CoLoRED Stucco Bas- 
RELIEF 


Rectangular round-arched tablet, modeled, in low relief, with 
a figure of the Virgin in red robe and blue mantle with bare 
head, standing and pointing with her right hand to the seated 
Child Christ, who, undraped, turns His head to the right. On 
a base with two flying putti, who support a circular medallion 
enclosing an armorial shield. Original coloring. In contempo- 
rary arched frame with base of molded and painted wood. 


Height, 34 icnhes; width, 25 imches. 


A Madonna by Desiderio, precisely similar to this, but in gray 
stone, is in the Victoria and Albert Museum, South Kensington. 


' BENEDETTO DA MAIANO 


a 1442—1498 
(1 333—FirreentH CrEntTurY FLORENTINE CoLorED Stucco Ma- 
DONNA 

Round-arched tablet modeled, in low relief, with a three-quar- 
ter-length seated figure of the Virgin in a red robe and blue 
mantle, her head draped with a white linen veil. She is looking 
to the left, and holds in her arms the Child Christ undraped 
save for a fold of linen. He lies upon a tasseled cushion with 
His right hand raised and clutching at His Mother’s veil, while 
He nurses at her right breast. She bends her head over Him in 
loving adoration. Surounded by a round-arched molded and 
carved stucco frame, with a molded base, plain plinth and 
molded apron, colored red and blue. 


Height, 33 inches; width, 24 inches. 


baer 


FLORENTINE SCHOOL 


Earty Firrrentu CEntTuryY 


334— FIFTEENTH CENTURY FLORENTINE CoLORED Stucco MADONNA 


Half-length figure of the Virgin, in red robe and blue mantle, 
with head veil falling in folds. She holds in her right hand, 
pressed to her breast, a fruit, and supports on her left arm 
the Child Christ clad in a tunic. He embraces His Mother’s 
neck with both arms and presses His face close to hers. The 
faces of Mother and Child are suffused with a brooding melan- 
choly. On a square molded bracket of painted wood with traces 
of an inscription and a shaped apron painted with scrolls and 
a shield charged with a coat-of-arms. 

Height, 28 inches. 


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l” MASTER INFLUENCED BY DELLA QUERCIA 


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% oF EA FirreentH CENTURY 
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335—Firreentu Crntury FLORENTINE CoLorep Stucco Bas- 
RELIEF 


Modeled, in low relief and without background, with a half- 
length figure of the Virgin, the head only inclined to the right. 
She wears a hooded mantle of blue, within which she has pro- 
tectingly wrapped the undraped Child Christ, whom she holds 
on her left arm. He clasps with both hands the red tunic of His 
Mother. On a rectangular molded base of stucco modeled in 
the center with two flying angles supporting a wreath enclos- 
ing the Sacred Monogram, and at the sides with armorial 


pointed shields. : 
Height, 30 inches; width, 27 inches. 


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LUCA DELLA ROBBIA 
1400—1482 


3386—FirtEENtH CENTURY FLORENTINE CoLoRED Stucco Bas- 


RELIEF 


Tondo-like circular medallion, modeled, in low relief, with a 
three-quarter-length figure of the Virgin in red robe, blue man- 
tle and a linen veil, standing with her head inclined to the right 
and gazing down at the Child Christ, whom, clothed in a girdled 
tunic, she holds in her arms. He hides His head on His 


~Mother’s breast and holds both hands before His face. Above 


is seen the Sanctus Spiritus Dove hovering above the Virgin’s 
head, while, slightly below, on either side, is a cherub with folded 
wings. Colored naturalistically. Enclosed in a plain border of 
stucco. 

Diameter, 22 inches. 


SCHOOL OF SIENA 


\y 


FirrEENtH CENTURY 

y, 

A 337—FirreENTtH CENTURY SIENESE CoLorED Stucco BAs-RELIEF 
Tondo-like circular medallion, modeled, in low relief, with a 
small three-quarter-length figure of the Virgin in red robe and 
blue mantle, her head covered by a fold of linen. She supports 
with both arms the undraped Child Christ, who clasps His hands 
together as He smiles with an expression of childish glee. Col- 
ored naturalistically. Surrounded by a molded and carved 


frame of stucco. 
Diameter, 21 inches. 


ANTONIO FEDERIGHI (DETTO DE’ TOLOMEID) 
1425(?)—1490) 


3388—FIFTEENTH CENTURY SIENESE COLORED Stucco BAs-RELIEF 


Round-arched tablet, modeled, in low relief, with a three-quar- 
ter-length standing figure of the Virgin in red robe and blue 
mantle draped about her head. With one hand she supports 
the Child Christ, who, clad in a linen tunic, stands and nurses 
at her breast. Colored naturalistically. In a contemporary 
Tabernaclolo frame of molded, carved, painted and gilded wood. 
It has a round arch flanked and surmounted by volutes and 
honeysuckle ornaments and supported on two pilasters with 
acanthus-leaf capitals and fluted and astragalled shafts. The 
base is molded and inscribed, in Roman letters, with a nearly ef- 
faced Latin inscription, and an apron of voluted acanthus leaves 
enclosing a shield. 

Height, 33 inches; width, 24 inches. 


2 


Se ee RR RUM E tReet eee Ud Blan ee 


a 


DESIDERIO DA SETTIGNANO 
x 


1427—1485 


\ 


339—FIrreENTtH CENTURY FLORENTINE CoLoRED Stucco Bas- 


RELIEF 

Rectangular tablet, modeled, in low relief, with a three-quarter- 
length figure of the Virgin in red robe girdled at the waist, blue 
mantle and linen head veil, seated and holding on her left knee, 
her left hand clasping His waist, her right hand holding His 
feet, the Child Christ, who is clothed in swaddling-bands.. Col- 
ored naturalistically. In a contemporary molded, carved, 
painted and gilded wood Tabernacolo frame. On molded base, 
with dentelled and egg and dart carved apron. 


Height, 49 inches; width, 31 inches. 


A marble bas-relief by Desiderio, closely resembling this stucco, 
was recently sold by the Hospital*of the Sta. Maria Nuova to M. Foulc 
of Paris. 


ANTONIO ROSSELLINO 
1427—1490 


340—FIFTEENTH CENTURY FLORENTINE CoLoRED Stucco Bas- 


RELIEF 

Rectangular tablet, modeled, in low relief, with a three-quarter- 
length figure of the Virgin in red robe and blue hooded mantle 
seated in a chair and holding on her lap, with both hands, the 
Child Christ, undraped and wearing a necklace with a cross as 
pendant. Enclosed within a round-arched niche with two 
Romanesque pilasters with paneled shafts, the arch having in 
raised Roman letters an “AvE MARIA” inscription and the span- 
drels being filled with a scrolled ornamentation colored nat- 
uralistically. In contemporary Tabernacolo frame of molded 
and painted wood. Molded cornice, with frieze supported on 
Doric pilasters and inscribed in Roman letters, “Quos OMNES 
QUI TRANSITIS PER vIAM, &c” (“It it nothing to you, all ye 
that pass by? Behold and see if there be any sorrow like unto 
my sorrow.” Lamentations, i. 12). Molded base with plinth 
inscribed, “Ploravit in nocte, &c.”’ 


Height, 31 imches; width, 201% inches. 


This stucco is of somewhat exceptional interest owing to its 
unusual state of preservation. Time has merely mellowed the coloring, 
and Signor Bardini is responsible for the statement that it has never 
been cleaned, much less retouched. 


(Illustrated) 


No. 340—FirreentaH Century Fiorentine Contorep Stucco Bas-RELIEF 


LUCA DELLA ROBBIA 
1400—1481 


341—FirreENtH CENTURY FLORENTINE COLORED 'TERRA-COTTA 


BaAS-RELIEF 

Rectangular tablet, modeled, in low relief, with a small three- 
quarter-length seated figure of the Virgin clothed in a red robe 
and blue mantle and with bare head, the hair braided over the 
forehead and knotted behind. Her face is in profile, looking 
toward the right and regarding with interest the undraped Child 
Christ, whom she holds in her arms as He stretches forward, ~ 
extending both arms as He seizes a stem of lilies. In the origi- 
nal 'Tabernacolo frame of molded, carved, painted and gilded 
wood. Molded cornice, plain frieze supported on two fluted 
pilasters with Gothic capitals, and molded base, the plinth with 
a Latin inscription in Roman characters. 


Height, 36 inches; width, 26 inches. 


This is a terra-cotta study for the celebrated “Madonna of the 
Lilies” in glazed terra-cotta by Luca della Robbia which is now in 
the Church of St. Andrea Rovezzano, and hence is generally known 
as the Rovezzano Madonna. Another version is in the Quincy A. 
Shaw Collection in Boston and another in the Liechtenstein Collec- 
tion in Vienna. Illustrated in Dr. Bode’s ‘Florentine Sculpture of 
the Renaissance,” p. 108. 


(Illustrated) 


No. 341—Fiereentu Century FiLorentinE Conorep 'TERRA-COTTA 
BASs-RELIEF 


LUCA DELLA ROBBIA 
1400-——1482 


342— FIFTEENTH CrnTURY FLORENTINE CoLorED Stucco Bas- 
RELIEF 

Round-arched tablet, modeled, in low relief, with a three-quar- 
ter-length figure of the Virgin in a red robe, her head hooded 
with a long, flowing veil. She is standing with her head turned 
to the right and bent over with an expression of maternal solici- 
tude toward the face of Christ, whom she guards with her right 
hand, caressing His hair with her left. Undraped, save for a 
short skirt of fine linen, He stands supporting Himself with one 
hand laid on His Mother’s breast. His face is turned toward 
the spectator. Colored naturalistically. In a contemporary 
carved, molded, painted and gilded wood frame with round- 
arched top flanked and surmounted by voluted acanthus leaves 
and rimmed palmettes. Molded base and apron. 


Height, 38 inches; width, 29 inches. 
(Illustrated) 


nr CoLorEep Stucco Bas-RELIEF 


TuRY ELORENTIN 


No. 342—FIrTEENTH CEN 


ANTONIO ROSSELLINO 
1427—1490 


343—FIFTEENTH CENTURY FLORENTINE CoLORED Stucco Bas- 
RELIEF 


») Modeled, in low relief and without background, with a half- 
~\) length figure of the Virgin with long curling hair, the head in- 
clined to the left and looking downwards with a pensive ex- 
pression, holding in her arms and clasping with both her hands 
the Child Christ, who reclines in a seated position against her 
right arm. The figures are on a square molded base, the front 
modeled with a festoon of fruits and leaves flanked by cherubim 
and the broken angles surmounted by spheres. Colored natural- 
istically. In original molded, carved and gilded wood Taber- 
nacolo frame. Pointed molded and dentelled pediment and 
cornice with plain frieze, supported on two pilasters with pan- 
eled shafts and Composite capitals. On molded base with 
molded apron. 


Tabernacle: Height, 55 inches; width, 40 inches. 
Stucco: Height, 26 inches; width, 21 inches. 


This stucco, in Signor Bardini’s opinion, served as a model for 
the terra-cotta now in the Berlin Museum, which is a tenth smaller 
in every direction, due to the shrinkage of the clay when baked. 


(Illustrated) 


FIrreEntH Century FLORENTINE COLORED 
Srucco BAs-RELIEF 


No. 343 


SIENESE SCHOOL 


FIrTtTEENTH CENTURY 


344—FIFTEENTH CENTURY SIENESE COLORED Stucco BAS-RELIEF 


: Rectangular tablet, modeled, in low relief, with a half-length 


figure of the Virgin in red robe and blue mantle draped over 
her head, seated and embracing the undraped Child Christ, 
who sits and with one hand arranges the folds of His Mother’s 
mantle. Above is a cherub with outstretched wings, and below, 
a base modeled in relief with a cherub and two putte hold- 
ing escutcheons. Colored naturalistically. Im contemporary 
molded, carved, painted and gilded wood Tabernacolo frame 
having a triangular pediment with painted tympanum, molded 
and dentelled cornice, frieze carved in relief with ox-skulls and 
festoons of laurel leaves supported by two fluted pilasters with 
Composite Corinthian capitals. Molded base carved with water 
leaves. 

Height, 46 inches; width, 26 inches. 


(Illustrated) 


Sac role AFG REN TONG RAR PRN aaa seis 


2 Sk ad ek Sd ian tae iw 


iar wow'ee ie Hy Woe WOME 


ama 


No. 344——-FirTEENTH CENTURY SIENESE CoLtorEp Stucco BaAs-RELIEF 


FRANCESCO DI GIORGIO 
1439—1506 


345—FirreentoH CENTURY SIENESE CoLoreD Stucco BAS-RELIEF 


oo 


Round-arched tablet, modeled, in low relief, with a three-quar- 
ter-length figure of the Virgin in a loose robe with full sleeves, 
her head hooded with a flowing veil. Her face, seen in profile 
and looking downward, is turned toward the Child Christ, whom 
she holds in her arms. He is undraped, and is laughing in child- 
ish glee as He grasps with one hand a fold of His Mother’s veil. 
Colored naturalistically. In original molded wooden frame, 
with arched top and molded base and apron. 


Height, 88 inches; width, 23 inches. 


Francesco di Giorgio Martini, architect, engineer, sculptor and 
author, was a pupil of I] Vecchietta and gained his chief celebrity as a 
sculptor by the two bronze angels on either side of Il Vecchietta’s taber- 
nacle in the Cathedral at Siena. | 


(Illustrated) 


No. 345—Firreentu Century SieNESE COLORED 
Srucco BaAs-RELIEF 


DONATO DE’ BARDI--DONATELLO 


1383—1466 


346—FIrreEENtH CENTURY FLORENTINE CoLoRED Stucco Bas- 


RELIEF 


Round-arched tablet, modeled, in low aetey with a half. length 
life-size and seated figure of the Virgin dressed in a red robe 
with tight-fitting sleeves and a blue mantle which serves also 
as a hood, holding on her lap with one arm the Child Christ, who, 
undraped, leans His chin upon His right hand. His left hand 
rests on the outstretched left hand of His Mother. Both Ma- 
donna and Child have gilded haloes. In molded frame of 
stucco. Colored naturalistically. 


Height, 82% inches; width, 2144 inches. 


This bas-relief is especially prized by Signor Bardini, who con- 
siders it not only an original work of the great master, but as favorably 
comparing with the similar example in the Victoria and Albert Museum, 
South Kensington, and in the Liechtenstein Collection in Vienna, as 
well as that in the Berlin Museum referred to by Dr. Bode in his “Floren- 
tine Bildauer der Renaissance,” p. 104. 


(Illustrated) 


2 BI unm 


pear 


RELIEF 


xtu CEentURY FLORENTINE CoLorED Stucco Bas 


No. 346—FiF TEE 


SPERANDIO MAGLIOLI DA MANTUA 
1425—1500 


347—F rTEENTH CrentuRY MANTUAN CoLoRED Stucco BAS-RELIEF 


BY SPERANDIO 

Rectangular tablet, modeled, in high relief, with a three-quarter- 
length figure of the Virgin in loose robe with full sleeves, her 
head hooded with a close-fitting veil. Her head is inclined 
slightly to the left and she gazes with downcast eyes and an 
expression of sad foreboding at the Child Christ, whom she 
holds in her arms. He has curly hair, is clothed in a loosely 
fitting tunic and holds His right hand uplifted in the act of 
benediction. ‘The figures are on a base, the front modeled with 
a cherub with outstretched wings flanked by two other cheru- 
bim. Colored naturalistically. In the original Florentine 'Tab- 
ernacolo frame of molded, carved, painted and gilded wood. 
Pointed molded pediment, the tympanum occupied by a painted 
Sanctus Spiritus Dove, with molded cornice and frieze painted 
with three circular medallions enclosing figures of Saints, sup- 
ported on two fluted pilasters with Composite capitals. Molded 
base, with plinth painted with a Latin inscription in Roman let- 
ters, and molded and painted apron. By Sperandio Maglioli da 
Mantua: (1425-1500). : 


Tabernacle: Height, 6 feet 4 inches; width, 34 inches. 
Stucco: Height, 30 inches; width, 18 inches. 


The validity of the attribution of this stucco to Sperandio must 
be obvious to those who compare it with the terra-cotta monument by 
Sperandio in the Church of St. Domenico, Bologna. 


(Illustrated) 


No. 347—Firreenty Century Manruan Conorep Stucco 
BAs-RELIEF BY SPERANDIO 


SCHOOL OF SIENA 


FIrrEENTH CENTURY 


348—FirreENTtTH CENTURY SIENESE COLORED Stucco BAS-RELIEF 


nN Rectangular table, with semi-octagonal top, modeled, in low 
& / relief, with a figure of the Virgin in red robe and blue mantle 
\y and with bare head. She is standing and clasping with caressing 
fervor the undraped Child Christ, whom she carries in her 
arms, her face seen in profile looking to the right, turned toward 
Him as though in listening adoration. He clasps His Mother’s 
neck with His left arm and turns His face toward the spectator. 
Colored naturalistically. In contemporary molded wooden 
frame. 
Height, 20 inches; width, 16 inches. 


(Illustrated) 


ucco BAs-RELIEF 


E CoLoreD ST 


ES 


SIEN 


TURY 


No. 348—FirreentH CEN 


_ LUCA DELLA ROBBIA 
1400—1482 - 


349—F irTeentH CENTURY FLORENTINE Stucco | 
Rectangular tablet, modeled, in low relief, with a 
figure of the Virgin in red robe and blue mantle 
over her head, ne with both a ee 


Height, 284, renee width, 4 
( Mlustrated) a a 


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3849—FirTrrEENTH CENTUR 


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SPERANDIO MAGLIOLI 
1425—1500 


350—SIXTEENTH CENTURY MANTUAN TERRA-COTTA BAS-RELIEF 


4) Round-arched niche; the arch, with shell background and span- 
£’~  drels occupied by cherubim, is supported by plain pilasters with 
molded capitals. The niche is occupied by a subject, modeled 
in low-relief, of “The Resurrection.” Christ, partially robed 
in a flowing garment, kneels on the tomb, holding in His left 
hand a cross and holding up His right in the act of benediction. 
Below is seen the figure of a Roman centurion asleep and lean- 
ing against the tomb. Painted in white to simulate marble. In 
a molded, painted and gilded Tabernacolo frame with molded 
and dentelled cornice and frieze painted with a meander pat- 
terning, supported by two Doric pilasters, their shafts painted 
with arabesques proceeding from urn-shaped vases. Molded 
base painted with rosettes, and apron with voluted and scrolled 
acanthus leaves enclosing a shield charged with a coat-of-arms. 
Painted white. 
Height, 33 inches; width, 161% inches. 
Sperandio was one of the greatest medallists of his time, as is 
evidenced by the surprisingly able manner in which he has handled 
this composition within the limits of so confined a space. The same 


treatment appears in the monument by Sperandio now in the Church 
of S. Francisco at Bologna. 


(Illustrated) 


No. 350—SiIxTEENTH CENTURY Mantuan Terra-corTta BaAs-RELIEF 


) DONATO DE’ BARDI (DONATELLO) 
13888—1466 


351—F iv reENTH CENTURY FLORENTINE COLORED 'TERRA-COTTA Bas- 


RELIEF 

Three-quarter-length figure of the Virgin, modeled in low relief. 
Seen in profile, with the head turned to the left, the Virgin, who 
is clothed in a gold robe brocaded with red, and a blue mantle 
with trimmings of unusual richness, the most prominent of 
which is a broad band embroidered on a gold ground in red 
with conventional cherubim at regular intervals, holds with both 
finely modeled hands the Child Christ, dressed in a linen gar- 
ment dotted with gold and banded with red, arranged after the 
fashion of the swaddling clothes then the fashion in Italy. He 
presents His full face to the spectator and His childish features 
are composed into an expression of foreboding melancholy. In 
the background are two cherubim with smiling children’s faces 
and red-feathered wings. In a very richly decorated, slightly 
restored T'abernacolo frame of molded, carved, gilded and 
painted wood. It has a round-arched opening, the molding en- 
riched with egg and dart carving and the finial formed of two 
voluted acanthus leaves surmounted by a fan-shaped ornament. 
At either side are pilasters with molded console capitals and 
shafts carved in low relief and painted with clustered acanthus- 
leaf pendants. The base is molded and carved and the bracket 
apron formed of scrolled acanthus leaves enclosing an oval panel 
painted with a figure. Upper part restored. 


Measurement of the Bas-relief: Height, 35 inches; width, 28 inches. 


Few of the sculptors of the Italian Renaissance so impressed his 
own and succeeding generations as did Donatello. His work, indeed, 
as astonishing in the extent of its output as in its surpassing beauty, 
is typically representative of his school and epoch. The Madonna here 
under consideration possesses supreme interest, for while the face of 
the Madonna herself is strangely attractive by reason of its very un- 
usualness, the two cherubim sum up for us the whole spirit, half-Pagan, 
half-Christian of the Italian Quattrocento, while the face of the Christ 
with its weird foreboding of pain and sorrow inevitably stamps the work 
as being that of the master himself. 


(Illustrated) 


No. 351—Firreentn Century Fiorentine CoLorep ‘TERRA-COTTA 
Bas-RELIEF 


352——Firreentu CENTURY FLORENTINE CoLorep Stucco Bas- 


RELIEF 
Tondo-like circular medallion, modeled, in low relief, with a 
F\ \)* three-quarter-length figure of the Virgin in a red robe and blue 


mantle and with bare head. She sits with her hands in her lap, 
her face in profile, looking toward the left, gazing with ma- 
ternal solicitude at the Child Christ, who les undraped before 
her, His face turned toward the spectator and His right hand 
raised in the act of benediction. Colored naturalistically. Kn- 
closed in a border modeled with cherubim with outstretched 
wings, symmetrically disposed. 


Diameter, 231% inches. 


(Illustrated) 


BENEDETTO DA MAIANO 
1442—1498 


353—F irrrentuH Century FLORENTINE CoLoRED TERRA-COTTA Ma- 
DONNA BY BENEDETTO DA MAIANO 

Three-quarter-length standing figure of the Virgin in red robe 

and blue mantle, her head hooded by a white linen veil. She 


on holds in her arms the Child Christ, whose head, with a profusion 

OD of curls, is thrown back as though in contemplation. His right 

\ V/ hand is raised in the act of benediction. Both Mother and Child 
ay are haloed. Colored naturalistically and placed in a tondo 


frame of glazed terra-cotta and of the della Robbia school of 
the fifteenth century. The glazed terra-cotta frame, of the 
period of Andrea della Robbia, consists of a wreath of fruits 
and leaves, in their natural colors, with an inner border, in white, 
of egg and dart ornament and an outside border of imbricated 
patterning. : 
Height of figure, 37 inches; diameter of frame, 54 inches. 
This bas-relief is so much larger than the marble it closely re- 
sembles, of the Tornabuioni monument in Sta. Maria Novella, that 


Signor Bardini deems it to be a study by the artist for the marble 
which exigencies of architectural space forced him to make smaller. 


(Illustrated) 


. a 


U7 ny 
. * ; 


BENEDETTO DA MAIANO 
1442—1498 


354—FIFrTEENTH CENTURY FLORENTINE CoLoRED Stucco Bas- 


“A 


RELIEF 
Rectangular tablet, modeled, in low relief, with a three-quarter- 
length figure of the Virgin in red robe, blue mantle and wearing 
a white linen veil. She holds in her arms the Child Christ, who, 
undraped save for a fold of linen, lies upon a tasseled cushion 
and nurses at His Mother’s breast. The Virgin gazes down at 
her Child in loving and maternal adoration and He looks up at 
her in childlike trust and confidence. Colored naturalistically. 
In the original Tabernacolo frame of molded, carved, painted 
and gilded wood. Molded triangular pediment, with a carved, 
bearded and haloed head of God the Father occupying the 
tympanum; molded cornice and frieze painted with a circular 
medallion enclosing the sacred monogram and flanked by 
scrolled leaves; supported on two fluted pilasters with Roman- 
esque capitals. Molded base; plinth with an “Ave MARIA” in 
Roman characters and molded apron. 


Height, 50 inches; width, 28 inches. 
(Illustrated) 


tucco BAs-RELIEF 


S 


ED 


E CoLoR 


FLORENTIN 


No. 354—FirrEENTH CENTURY 


DONATO DE’ BARDI (DONATELLO) 
1383—1 466 


355—FirrEENtH CENTURY FLORENTINE COLORED Stucco BaAs- 


RELIEF 

Rectangular tablet, modeled, in low relief, with a half-length 
figure of the Virgin in red robe with blue mantle and linen veil, 
her face in profile turned toward the right, with hands brought 
together in front of her, adoring the Child Christ, who sits, 
draped in swaddling clothes, on a small chair in front of her. 
Colored naturalistically. In the original Tabernacolo frame of 
molded, carved, painted and gilded wood. ‘Triangular pedi- 
ment, the tympanum occupied by a Sanctus Spiritus Dove in 
high relief, with molded cornice, and frieze carved with two 
cherubim and catenaries, supported by two fluted pilasters with 
pointed-leaf capitals. On molded base, the plinth painted in 
Lombardic characters with an “Ave Maria” flanked by es- 
cutcheons charged with the coat-of-arms of the Medici family. 
Molded apron. 

Height, 51 inches; width, 29°4 inches. 


A careful study of this stucco will suggest, according to Signor 
Bardini, that it must have been the model on which was based the 
famous bronzed terra-cotta now in the Victoria and Albert Museum 
at South Kensington. 


([llustrated) 


on EN I - 
Sigh eels RMP Ramee ier coe panne i ter AC Ri 


PA aT tht eMac tenmmeem Fe 


No. 355—Firreentu Century FLorentineE CoLorep Srucco Bas-RELIEF 


pa NB Wad ANTONIO ROSSELLINO 
SEN 2 he 
2 / 1427—1490 


356—F irTEENTH CENTURY FLORENTINE MapoNNA AND CHILD IN 
CoLorEeD Stucco Bas-RELIEF 

Rectangular tablet, modeled, in low relief, with a three-quarter- 
length figure of the Virgin in a red robe and blue mantle, her 
head covered by a thin veil. Seated and regarding with face 
turned to the right and with a dignified calm the Child Christ, 
who, in a white tunic with red girdle, is seated on her knee 
clasping in both hands a bird, at which He looks with childish 
glee. On either side, in the background, is modeled a “candeli- 
eri” decoration of vases festooned with ribbons and supporting 
a floral festoon. Original coloring. In original Tabernacolo 
frame of molded, carved, painted and gilded wood. Pointed 
pediment, with molded and dentelled cornice and plain frieze 
supported on two fluted pilasters with acanthus-leaf and shell- 
carved capitals. Molded base, the plinth painted with an “avr 
MARIA” Inscription in Roman lettering, and molded apron. 


Height, 55 inches; width, 30 inches. 
(Illustrated) 


CHILD IN 


AND 


NNA 


Mapo 


NE 


I 


NT 


TuRY FLoreE 
ED Sr o B 


+ 
a 


EENTH CE 


No. 3856—Firr 


a 


CLIEF 


4 


AS-RE 


) 


ICC 


‘OLOR 


fa 


ANTONIO ROSSELLINO 
1427—1490 


357—F ivrkeENtH CrntTURY FLORENTINE CoLorED Stucco Bas- 


RELIEF 
Rectangular tablet, modeled, in low relief, with a three-quarter- 
length life-size figure of the Virgin’in red robe, blue mantle and 
linen veil, seated, looking to the left and regarding, with down- 
cast eyes and an expression of maternal solicitude, the Child 
Christ, who, clad in a purple tunic, sits on her lap, supported 
by His Mother’s hand, which clasps His shoulder. On either 
side, in the upper background, is an Angel in green robe with 
red wings adoring, with folded hands. Traces of original col- 
oring. In original Tabernacolo frame of molded, carved, 
painted and gilded wood. Pointed pediment, with molded 
cornice and frieze decorated with three cherubim, modeled in 
papier-maché and separated by catenaries tied with scrolled 
ribbons, supported on two fluted pilasters with Corinthian 
capitals. Molded base, the plinth flanked by modeled escutch- 
eons, with molded apron. 

Height, 55 inches; width, 30 inches. 

Signor Bardini considers this the most beautiful of all the Ma- 
donnas modeled by Antonio Rossellino. 


(Illustrated) 


No. 857—Firrrentru Cenrury FuoreNtINE CoLtorep Stucco Bas-revier 


GIOVANNI PISANO 
1250—1829 


358—THIRTEENTH CENTURY PisAn CoLorED Woop FIGuRE 


Full-length standing figure of the Virgin, wearing a trefoiled 
crown over a linen veil, a red robe and blue mantle. She sup- 
ports, on her left arm, the partially draped figure of the Child 
Christ, while raising her right hand and bending her head as 
though to listen to His childish prattle. He, on His part, looks 
into her gentle, calm face with a delightful air of confidence. 
His right hand is raised as though to attract His Mother’s at- 
tention, while He rests the left on His knee. His little bare 
right foot is bent downward in a surprisingly natural attitude. 
Colored naturalistically and gilded. On circular wooden base 
and an octagonal molded stand. 


Height, 53 inches. 


The son of Nicola Pisano, that greatest of Italian mediaeval sculp- 
tors, Giovanni, as well as Arnolfo di Cambio and others, pupils with 
him of his father, carried from Pisa into other parts of Italy that 
revival of the art of sculpture for which Nicola was chiefly responsible. 
Siena, Padua and Pistoja are enriched by examples of his skill. This 
statue betrays the strong influence of the antique works of art the 
Pisani studied to such advantage. 


(Illustrated) 


No. 358—TuirTEENTH CENTURY Pissn CoLorEeD Woop Ficure 


GLAZED TERRA-COTTAS BY THE DELLA 
ROBBIA FAMILY 


GIOVANNI DELLA ROBBIA 
\y Pa SIXTEENTH CENTURY 
359—SIXTEENTH CENTURY FLORENTINE GLAZED ‘TERRA-COTTA 
TABLET 

Shaped tablet, glazed white with painted inscription paneled in 
Roman characters, “D. PE'T. M.,” surmounted by a triple loop 
of ribbons, branches of acanthus and a shell and with an apron 
of a cherub with outstretched wings within a festoon of fruits 
and leaves. ‘Tablet and cherub glazed in white, the rest in nat- 
ural colors. 


Height, 23 inches; width, 18 inches. 


wy 
“ DELLA ROBBIA FAMILY 


J/\ SIXTEENTH CENTURY 


360—-SIXTEENTH CENTURY GLAZED TERRA-COTTA FIGURE 


Half-length figure of an angel, shown as a woman with long 
curling hair and pointed diadem, with wings, clothed in a sleeve- 
less tunic girdled with knotted ribbon and holding on the right 
arm a stem of lilies. On a base formed of clouds. Left arm 
missing. Glazed in natural colors with portions left unglazed. 


Height, 21 inches. 


The admirable figure, according to Signor Bardini, was modeled by 
the member of the della Robbia family who made the famous frieze 
on the front of the Hospital of Pistoja. 


me 


LUCA DELLA ROBBIA 
1400—1482 


361—SIxTREENTH CrntTURY FLORENTINE GLAZED 'TERRA-COTTA 
ge? MeEpaALLion 

<0 Circular medallion, modeled in low relief with a shaped shield 

charged with a coat-of-arms ona blue ground consisting of a 

field argent with a bend or, mantled with a scrolled yellow rib- 

bon. Enclosed within a frame of wreath of fruits and leaves. 


glazed in their natural colors. 
Diameter, 191% inches. 
(Illustrated) 


LUCA DELLA ROBBIA 
1400—1482 
362—FIFrTEENTH CENTURY FLORENTINE GLAZED ‘TERRA-COTTA 
MEDALLION 
:. Circular medallion, modeled on a blue ground with the emblem 


BF, of St. Lawrence, a purple gridiron surmounted by two yellow 


ears of wheat and a white floriated cross. Enclosed within a 
frame having an inner border of egg and dart patterning glazed 
white, surrounded by a wreath of fruits and leaves banded with 
ribbons. Glazed in natural colors. 


Diameter, 28 inches. 
(Illustrated) 


LUCA DELLA ROBBIA 
1400—1482 
363—FIrTEENTH CENTURY FLORENTINE GLAZED 'TERRA-COTTA 
MEDALLION 


A) Circular medallion, modeled, in low relief, with a shaped shield 


AN charged with the coat-of-arms of the della Robbia family, party 
\ 


per fesse argent, a cross crosslet, three daggers displayed, 
surrounded by a wreath of acorns and leaves. Enclosed within 
a frame of a wreath formed of alternate sections of fruits and 
leaves and pine cones and needles glazed in their natural colors. 


Diameter, 251% inches. 
(Illustrated) 


361 


363 


YL A 
Via 
\ 


4 > 
be 
\ 


LUCA DELLA ROBBIA 


> 1400—1482 


f \ 
\ 


364—F rtrentH Century FLorentTiInr GLaZzep 'TERRA-COTTA 
MEDALLION 

Circular medallion, modeled in very low relief, with a circle 

containing the Sacred Monogram (I.H.S.) combined with a 

cross, and surrounded by pointed alternate straight and spiral 

rays in yellow on a blue ground. Enclosed within a frame of 

a wreath of fruits and leaves banded with ribbons on a white 


ground. Glazed in natural colors. 
Diameter, 25 inches. 
(Illustrated) 


DELLA ROBBIA FAMILY 
SIXTEENTH CENTURY 
365—SIXTEENTH CENTURY FLORENTINE GLAZED 'TERRA-COTTA 


y MEDALLION 


> Circular medallion, modeled with a shaped shield, glazed blue 


on a green ground and charged with the emblem of St. Anthony, 
a hand resting on a crutch, and mantled with a scrolled and 
tasseled ribbon. Enclosed in a frame having, on a white ground, 
a wreath of bunches of fruits and fir-cones tied with scrolled 
ribbons. Glazed in natural colors. 

Diameter, 29 inches. 


This and the following medallion came from a monastery near 
Florence. 


(Illustrated) 


DELLA ROBBIA FAMILY 


SIXTEENTH CENTURY 


366—F IFTEENTH CENTURY FLORENTINE GLAZED 'TERRA-COTTA 
MEDALLION 

Circular medallion, modeled with a shaped shield glazed in blue 

and charged with the emblem of St. Francis, two crossed hands 

showing the stigmata below a floriated cross in white, purple 

and yellow. Enclosed within a frame formed of a wreath of 

fruits and leaves on a white ground naturalistically colored. 


Diameter, 301% inches. 
(Illustrated) 


LUCA DELLA ROBBIA 
1400—1482 


367—FirreentH CrEnturY GuLaAzep TErRA-corraA  PortTRAIT 
MEDALLION 

Circular medallion, modeled with the bust portrait of a Roman 

Emperor shown as a young man with a wreath of laurel tied 

with scrolled ribbons. Glazed in white, with a blue background 

and enclosed in a frame of glazed terra-cotta modeled with a 

wreath of fruits and leaves glazed in their natural colors. 


Diameter, 28 inches. 


The admirable modeling of this bust, so Signor Bardini asserts, 
cannot fail to give assurance that it is the work of Luca himself. 


(Illustrated) 


ANDREA DELLA ROBBIA 
1437—1528 


368—l'trrEENTH CENTURY GLAZED 'TERRA-COTTA PORTRAIT 
MEDALLION 3 
Circular medallion, modeled with a bust portrait, in the antique 
style and glazed in white, of a bearded man of middle age look- 
ing downwards and wearing a toga with an under tunic. En- 
closed in a frame of glazed terra-cotta modeled as a wreath 
of fruits, flowers and leaves glazed in their natural colors. ‘The 
background to the bust is of wood. — 


Diameter, 31 inches. 
(Illustrated) 


ANDREA DELLA ROBBIA 
1437—1528 


,869—FIFTEENTH CENTURY GLAZED ‘TERRA-coTTA PorTRAIT 
MEDALLION 


71) Circular medallion modeled with a portrait bust, in the antique 


style, of a man shown in full face wearing an under tunic and 
with a toga draped around his shoulders. Glazed in white 
with a blue background. Surrounded by a glazed terra-cotta 
frame of a wreath of fruits, flowers and leaves glazed in their 
natural colors. 


Diameter, 34 inches. 
(Illustrated) 


GIOVAN NI DELLA OEE ee 
iE 469-1529 


370—F ourTEENTH CENTURY ae TERRA-COTTA B. 


( Rectangular tablet. of terra. cotta, glazed in natural 
copy of Rossellino’s marble bas-relief of “St. Jer on: 
Desert. er There are a few eee oe 


the compositions are alles In terra-cotta 
white. , ; 


ee in the Chureh of Monte Oliveto 2 
| (Mlustrated) 


San AG AER iit tt. 


Sirah higher EA 


4 


Set eran 


+i 


No. 870—FovrtTEENTH CENTURY GuAzeD. TERRA-coTTA BAsS-RELIEF 


GIOVANNI DELLA ROBBIA 
1469—1529 


871— FIrTEENTH CENTURY FLORENTINE GLAZED ‘TERRA-COTTA 


STATUE 

Standing figure of Judith, with long curling hair falling over 
her shoulders and dressed in a loose robe gathered over the hips 
and with the sleeves rolled up. In the left hand she holds by 
the hair the decapitated head of Holofernes. Her right arm 
is uplifted. On circular base, lettered “supitT,”’ and square 
molded pedestal, the sides enriched with festoons of flowers and 
fruits and with cherubim. The figure glazed in white, the 
pedestal in white and colors. Right arm missing. 


Height, 42 inches. 


Signor Bardini directs attention to this statue as being of excep- 
tional artistic value. During the Decadence, the followers of the Della 
Robbias frequently copied this subject, but their copies entirely lack 


the brilliancy of the glaze and the admirable modeling shown in this 
example. 


\\ 


ANDREA DELLA ROBBIA 
1437—1528 


372— FIFTEENTH CENTURY GLAZED TERRA-COTTA BAS-RELIEF IN ITS 


ORIGINAL TABERNACOLO FRAME 


(yO Round-arched tablet, modeled with three-quarter-length figure 


of the Virgin in robe confined at the waist with a knotted girdle 
and hooded mantle fastened at the neck with a cord and buttons. 
She is standing with her head, seen in three-quarter view, in- 
clined to the left, the features surcharged with an expression 
of pensive melancholy. Her left hand holding His left ankle 
and her right hand clasping His body, she supports the un- 
draped standing Child Christ, who has His left arm thrown 
around His Mother’s neck and holds in His right hand a bird. 
His full face is turned to the spectator, at whom he gazes with 
an air of Divine dignity. The background is diversified with 
horizontal bands of clouds, while above are three cherubim, one 
with outstretched and two with folded wings shown with the 
faces of smiling care-free children. Mother and Child, as well 
as the three cherubim, have haloes. This exquisite tablet is 
placed within a Tabernacolo frame having an inner broad bor- 
der of seven cherubim with outstretched wings, some with smil- 
ing faces, some looking downwards with a pitying expression; 
the outer border is a molding of egg and dart patterning. Ona 
base of a double ogee molding, the upper member enriched with 
an acanthus leaf, the lower with an egg and dart patterning. 
The shaped apron is outlined by two curving fluted cornucopize 
with voluted terminations filled with fruits, and in the center 
is a cherub with halo and outstretched wings. Glazed in white 
with a blue background. Slightly restored. 


Height, 39 inches; width, 20 inches. 


Professor Allan Marquand of Princeton, acknowledged as a leading 
authority on the works of the Della Robbias, in his forthcoming volume 


[ No. 372—Continued | 


on Andrea della Robbia provisionally puts this Bardini Madonna in the 
decade 1490-1500. He also writes: ‘You make no mistake in at- 
tributing this Madonna to Andrea della Robbia.” In his “Della Robbias 
in America” (Princeton, 1912), Professor Marquand points out (pp. 
35-36) that the similar Madonna in the Quincy A. Shaw Collection 
(recently presented to the Boston Museum of Fine Arts) is evidently 
based on the “fine relief” by- Andrea in the Church of St. Egidio, con- 
nected with the Hospital of Santa Maria Nuova, Florence, and that 
both, though later, are not far removed from Andrea’s relief in the 
Church of St. Gaetano. It may be mentioned that another similar 
relief, illustrated on page 108 of Cavallucci and Molinier’s “Les Della 
Robbia,” Paris, 1884, is No. 7547 in the Victoria and Albert Museum, 
South Kensington. It is there assigned to Andrea della Robbia, but 
has an entirely different, and much more commonplace, frame. — 


(See Frontispiece) 


ANDREA DELLA ROBBIA 
1437—1528 


373— SIXTEENTH CENTURY FLORENTINE GLAZED TERRA-COTTA TAB- 
ERNACOLO FRAME 

» Shaped architectural frame, with semicircular pediment 
flanked and surmounted by rosettes and honeysuckle ornaments. 
The molding is enriched by an acanthus-leaf border and ro- 
setted fascia and encloses a fluted shell-shaped ornament super- 
imposed on which is a monstrance, while at the right stands an 
undraped putto, with hands clasped in adoration. The molded 
cornice, with enriched members and fluted frieze, is supported 
by two pilasters with voluted capitals of differing designs and 
shafts with plain panels enclosing pendants of fruits and leaves 
supported by knotted ribbons. Molded base and pear-shaped 
apron, enriched with acanthus-leaf scrollings, large blossoms 
and a shaped shield charged with the arms of the Borgia family, 
and surmounted by a Bishop’s mitre. Glazed in natural colors. 


Height, 58 inches; width, 19 inches. 
(Illustrated ) 


No. 373—SIxTEENTH CENTURY FLORENTINE GLAZED 
Terra-corra TABERNACOLO FRAME 


GIOVANNI DELLA ROBBIA 
1469—1529 


374—SixTreENTH CENTURY GuLazED TERRA-coTtA ARMORIAL 
MeEpDALLION 
Circular medallion, modeled with radiating shell-like flutings, — 
having in the center a shaped escutocheon charged with the 
arms of a Florentine family (a rampant lion), surrounded by - 
a scrolled ribbon with tasseled ends. Enclosed in a frame with 
inner border of egg and dart patterning glazed white and sur- 
rounded by a wreath of fruits, flowers and leaves. All glazed in 
their natural colors. 
Diameter, 76 inches. 


STONE AND MARBLES 


yor the Thirteenth, Fourteenth, Fifteenth, Sixteenth and 


Seventeenth Centuries 


\4 


375—F IrTEENTH CrenTuRY IstrIAN STonE Lion 
fe Marzocco. Formed as a heraldic sejant lion with conventional- 
ized mane massively curled. 
ry Height, 1 foot 8 inches. 


YY 
Sf, This lion represents a Marzocco, the emblem of the City of 


Florence, as the Lily was its Coat-of-arms. It was formerly a decora- 
‘tion of the famous Loggia dell’ Orcagna in the Square of the Signoria, 
Florence, as the illustration, taken from a photograph, shows. 


f MG, © Yates (Illustrated) 


a 
i} O : 
fom nn 


fe : bar eraires CenTURY Pisan Carvep MarsiE Eacie 
Portion of a lectern or pulpit, formed as a standing eagle with 
head thrown back in a defiant attitude and outspread wings sup- 
y} Vv porting on its back an octagonal slab of marble to serve as a 
book support. On flat sloping marble base. 


Height, 2 feet 4 inches. 


This eagle formerly served as the desk of a lectern in one of the 
’ churches of Pisa. 


(Illustrated) 


377—THIRTEENTH CENTURY BYZANTINE MARBLE STATUE 


Figure of St. Augustine, in Bishop’s vestments with embroid- 
y (0 ered orphrey, wearing a mitre and seated on an ecclesiastical 
[ throne having spirally fluted columns as side supports. On his. 
lap is an open book held with his left hand. The right arm is 

msising. A Latin inscription is incised on the right side. 


Height, 26 inches. 
This statue was found in the Abruzzi town of Aquila. 


_ (Illustrated) 


BRE 


4 


} . 


i 
“ 


378—FIrrEENTH CENTURY ITALIAN MARBLE PEDESTAL 


Square shaft, flanked by octagonal columns with voluted capi- 
tals supporting paneled pilasters, with insets of marble inlay, 
above which is a broken molded cornice. Between the pilasters 
are molded Gothic trefoil arches and between the columns panels 
of gilded and colored glass mosaic inlay in a diapered pattern 
of, six-pointed stars. Broken molded base and square pedestal. 


Height, 30 inches; width, 12 mches. 


(Illustrated) 


379—FourRTEENTH CENTURY ITALIAN CARVED STONE PEDESTAL 


Cylindrical shaft, carved with the full-length figure of a bearded 
apostle in classic robes with bare feet and the right hand raised 
breast high in the act of benediction. The capital is carved with 
volutes and a shield-shaped stemma or coat-of-arms of the 
Rovere family supported by a winged cherub, below a molded 
abacus. Molded base on square pedestal, with tongue-shaped 
leaves occupying the angles. Of Istrian stone. 


(Illustrated) Height, 3 feet 4 inches. 


3880—FouRTEENTH CENTURY IsSTRIAN STONE COLUMN 


Shaft formed of three clustered spirally fluted cylindrical col- 
umns carved at the top with scrolled acanthus leaves. Capital 
missing. Molded base and square pedestal, with tongue-shaped 
leaves occupying the angles. 


Height, 3614 inches. 
(Illustrated) 


381—-Roman Parian Marpirrt Heap (Second century B.C.) 


\ 


cy 
\7 


Head of a man with curling hair and beard, close-fitting cap and 
fillet with laurel-leaf pendants. On molded cylindrical pedestal. 
(Fractured. ) 

(Illustrated) Height of head, 25 inches. 


382—First Century Roman Pentretic MarsptE PEDESTAL 


Square tapering shaft carved in front in high relief with bust 
of a smiling youthful Hercules crowned with fruit and leaves 
and carrying over his right shoulder a knotted club, and at the 
side with voluted and square projecting brackets. Molded 
abacus, molded base and square pedestal. 


(Illustrated) Height, 2 feet 8 inches. 


377 375 376 


383—THirTEENTH Century ITALIAN MARBLE FIGURE 
Figure of a bearded saint dressed in on ecclesiastical vestment 
with many conventional folds. The right hand is raised up- 
\/> wards and rests on his breasts, while the left supports a square 
7 book or chalice cover. 
Height, 2 feet. 
(Illustrated) 


384—FourTEENTH CENTURY IsTRIAN STONE COLUMN 


/ Shaft formed of four clustered and spirally fluted columns hay- 
Ugee a ing carved human masks at their upper intersections below a 


“ xX ‘~~ molded abacus. Molded base and square pedestal. 


Height, 4 feet. 
(Illustrated) 


( 385—Tuiereente Century Iranian Marsite Cotumn 

Spirally twisted shaft, the twists turned vertically in the center. 
The capital, of earlier date, is carved, in high relief, with a 
grotesquerie of a dragon devouring another mythical animal 
below a molded abacus. High base, also of earlier date, carved 
with a winged gryphon, holding in its claws a grotesque fem- 
inine bust. ‘The molded base is enriched with acanthus-leaf 
{3 carving. 


%? Height, 68 inches. 
* : (Illustrated) 
\ if { 386—FIFTEENTH CENTURY ITALIAN STONE CoLUMN 
XX << Shaft spirally twisted, boldly molded and fluted with circular 
Bee ENS. molded abacus-like capital, molded base and cylindrical pedes- 
tal. Of sandstone. 
. Height, 48 inches. 
y 13 4 This column came from a Confraternity Church of Arezzo in 
\A .~ .vV Tuscany. 
A? ome (Illustrated) 
i | \\* \ 
be —\) 887—THIRTEENTH CrnTURY ROoMANESQUE MarsLe CoLUMN 


Square shaft, decorated on all four sides with panels of meander 

patterning and yoluted leaves of Romanesque character. 
Square capital, carved with pointed leaves, volutes and spirals. 
\. Square molded base. 


Height, 47 inches. 
(Illustrated) 


386 


381 
382 


885 


Pitt 
HORS 


8 fame ser Sis 


ee 


a. ~ 


388—FIFrEENTH CENTURY MARBLE PEDESTAL 
Plain shaft of Cipollino marble, molded capital and base, and 


square pedestal. 
Height, 62 inches. 


389—Roman OrrentaL Marsir Pepestat (First Century A.D.) 
Plain shaft of variegated Persian marble, molded base and 
square pedestal. 

Height, 62 inches. 


This interesting example of “Fior di Persico” marble was found 
near Rome in the river Tiber. 


390—SIXTEENTH CENTURY ITALIAN Marsie Lerrer Box FRONT 

Rectangular tablet with rounded corners, pierced in the center 

with aperture for letters flanked by crescented grotesques, 

) masks or “mascheroni.” Below are the three bends of the coat- 

\ of-arms of a patrician family, while above is incised, in Roman 
letters, the inscription “QUI SI PONGONO LE LETTERE.” 


s\ 


Height, 22 inches; width, 14 inches. 
From a palace in the town of Pesaro. 


(Illustrated) 


BENEDETTO DA ROVEZZANO 
1477—1552 


391—SIXTEENTH CrenTURY FLORENTINE MarsLe TABLET 
Rectangular-shaped panel, originally forming a portion of a 
frieze. Carved in high relief with a Renaissance patterning 
of three masks surmounted by baskets of fruits and separated 


oF by rinceaux of acanthus leaves and flowers. 


Height, 91% inches; length, 7 feet 2 inches. 


This panel by Benedetto di Grazino, known as da Rovezzano, one 
of the most noteworthy ornamentists of the Renaissance, who spent 
some years in England, formed part of a monument the niches of which 
are now in the Bargello Museum. 


(Illustrated) 


392-Seconp Century Roman Marsie Bas-RELIEF 


Rectangular-shaper panel, enclosed by a molded border and 
carved in low relief with a band of conventional waves and two 
mythical sea-monsters, one with a ram’s head and body and a 
dragon’s tail, and one with two winged snakes’ heads. The lat- 
ter draws by a cord a bowl in which stands a vase-shaped ewer. 
(Slightly repaired. ) 

Height, 601% inches; width, 20 wmches. 

(Illustrated) 


393—SIxTEENTH CrentuRY ITALIAN Marple CoAtT-OF-ARMS 


Cs a) 


Rectangular tablet, carved in low relief with a shaped escut- 
cheon charged with a coat-of-arms (quartered with a two-headed 
eagle) surmounted by a helmet and the couped head of a 
soldier, with steel morion, holding a bodkin. ‘The helmet is 
mantled with drapery and tasseled acanthus leaves and sur- 
rounded by a label inscribed in Roman characters with a Latin 
inscription. 

Height, 25 inches; width, 22% mches. 

(Illustrated) 


394—FIrTEENTH CENTURY ITALIAN MARBLE PAPAL COAT-OF-ARMS 


Rectangular tablet, carved with a wreath of oak leaves flanked 
by scrolled ribbons and enclosing a shaped escutcheon charged 
with the coat-of-arms of the Piccolomini family (a cross with 
five crescents) surmounted by the crossed Keys and Papal Tiara 
tied by an embroidered stole. This coat-of-arms is that of Enea 
Pio Piccolomini (Pius II), better known as Aeneas Sylvius, 
who was Pope from 1458 to 1464. (Slightly repaired.) 


Height, 25 inches; width, 401% inches. 
(Illustrated) 


395—FIFTEENTH CENTURY ITALIAN Marsite Papat Coat-oFr-ARMS 


_Xectangular tablet, carved with a catenary of festoons of fruits 


tied with scrolled ribbons and with fruit pendants and with a 
shield charged with the coat-of-arms of the Piccolomini family 
(a cross and five crescents) surmounted by the Crossed Keys 
and Papal Tiara tied with an embroidered stole. This coat- 
of-arms is that of Enea Pio Piccolomini (Pius II), Pope from 
1458 to 1464. 

Height, 41 inches; width, 25 inches. 

(Illustrated) 


393 


395 


396—Roman Marsieé Bas-revier (Second century A.D.) 


oo 


Rectangular tablet, probably a portion of a sepuchral monu- 
ment. Chamfered upper corners, carved in low relief with en- 
twined rinceaux of acanthus leaves and flowers, which support, 
at either side, seated putti holding flaming cornucopiz. In the 
center is a square pedestal, surmounted by a fluted urn-shaped 
vase from which issue conventional flames. 


Height, 26 inches; width, 20 inches. 
(Illustrated) : 


SIXTEENTH CENTURY ITALIAN MARBLE PAPAL COAT-OF-ARMS 


Rectangular tablet, carved in low relief with a shaped escut- 
cheon charged with the coat-of-arms of the Medici family (five 
pellets and three fleurs-de-lis) , surmounted by the Crossed Keys 
and Papal Tiara tied with an embroidered stole, flanked by cir- 
cular rosettes, cords and pendent tassels. Below is carved 
“Firma Fides” (Constant Faith). This is the coat-of-arms of 
Giovanni de’ Medici (Leo X), Pope from 1518 to 1523. 


Height, 32 inches; width, 23 inches. 
(Illustrated) 


\ 

| 
Weer 
\y 


SixteentH Cenrury Iranian Marpie Papar Coat-or-arMs 
Rectangular panel, with molded border. Carved in low re- 
lief with a shaped escutcheon charged with the coat-of-arms of 
the della Rovere family (an oak tree), surmounted by the 
Crossed Keys and Papal Tiara, tied with an embroidered stole, 
and flanked by a scrolled ribbon. This coat-of-arms is that of 
Giuliano della Rovere (Julius IL), who was Pope from 1503 
to 15138. 

Height, 4414 inches; width, 27% inches. 


(Illustrated) 


396 


399—FirreentH Century FLoreNTINE Lion 
Marzocco. Formed as a heraldic sejant lion with open mouth 
<| and conventionalized curled mane. On rocky base. 
Height, 1 foot 10 inches. 


Formerly a decoration of the Loggia dell’ Orcagna, Florence. 


JACOPO TATTI (IL SANSOVINO) 
1477—1569 


SIXTEENTH CrentTuRY FrorenTINE Marsie FIGuRE 

Nude figure of St. John the Baptist, with curling hair and 
beard, seated, with crossed legs, in the cleft of a tree trunk, 
+: around which and across his lap are thrown the folds of a skin 
BEY garment. At his side stands a lamb. On irregular rock base. 
ie oe 7 Portions of figure missing. 


400 


Height, 19 inches. 


DONATO DE’ BARDI (DONATELLO) 
1383—1466 


La 401—FiverrentH CENTURY FLORENTINE MAaArBLE ‘TABERNACOLO 
y APRON 
\ Triangular-shaped apron, carved with two voluted and fluted 
LALO scrolls enclosing two winged angels bearing between them a 
. chalice and holy wafer. Below are a shaped escutcheon charged 

with a coat-of-arms, and scrolled ribbons. 
Height, 22 inches; width, 32 inches. 


This apron is very similar to that of Donatello’s frame, containing a 
bronze statue by Verrocchio, in the Church of San Michele in Florence. 


MINO DA FIESOLE 
1400—1485 


402—F 1vTrenTH CentuRY MaArs_e Heap or St. JOHN THE BAPTIst 
Head of St. John the Baptist, shown as a bearded young man, 
thrown back with eyes looking upward and mouth slightly 
opened. The lifelike expression and attitude of his head are 
remarkable. On square molded wooden base painted with 
scrolled foliage, gilded and enriched by carving. 


Height, 18 inches. 


ITALIAN SCHOOL 


SIXTEENTH CENTURY 


403--SIxXTEENTH CENTURY STONE PROFILE PortTRAIT 
8 Rectangular panel, molded on three sides and occupied by a 
J/~ carving in low relief of the profile portrait bust, looking to the 
VAP © right, of the Roman Emperor Hadrian. He is shown with a 
/\ ‘/ short curling beard and mustache, curling hair confined by a 
IX knotted fillet, and wearing a loose-fitting toga and a “radiated” 
crown. Below is the inscription in Roman letters “apRIANUS 

AuGusTUs.” From the antigue. 


Height, 21 inches; width, 15 inches. 


ry FLORENTINE SCHOOL 
& 


FIrTEENTH CENTURY 


ry 
“V 404—F irtEeNTtTH CrentTuRY Marsie ProriLe Portrait 
Rectangular tablet, occupied with a profile portrait bust, look- 
ing to the left, of a young girl with wavy hair confined by two 
fillets, and a robe open at the throat and with a turn-over collar. 
In Tabernacolo frame of wood, with broken pediment, molded 
cornice and base and shaped apron. 


Height of marble, 11 inches; width of marble, 8 inches. 


FRANCESCO RAIBOLINI (IL FRANCIA) 
1450 


1517 


405—F rTEENTtTH CentURY MARBLE Portrrarr Bust or Mino Rossi 


4) 


ay 


Square panel, surrounded by raised molding with circular ro- 
settes at the angles and enclosing a circular medallion with 
molded frame carved with cable and bead and reel enrichments, 


/and enclosing a profile portrait, looking to the right, bust in high 


relief, of a young warrior with heavy waving hair. He wears a 
round silk biretta-like cap and a steel breastplate with chased, 
scrolled and shelled ornaments. The background is of colored 
marble. 

Height, 17 wmches; width, 138 imches. 


This beautiful bust of Mino Rossi, of Bologna, came direct to 
Signor Bardini from the celebrated Palazzo Bevilacque, a noted store- 
house of superb works of art. Its centuries-old attribution to Francesco 
Raibolini, better known as Francia, is entirely warranted when the 
facts are taken into account that Francia was until middle life a gold- 
smith and medallist, that one of the most famous medals by him now 
in existence is a profile portrait of Bernardo Rossi, Count of Berceti, 
Governor of Bologna in 1519 and a kinsman of Mino, and that the tech- 
nique of the medallion is very similar to that of the Bentivoglio busts 
in the family chapel in Bologna, which are undoubtedly the work of 
Francia. 


(Illustrated) 


No. 405—Firrrento Century Marpie Portrait Bust or Mino Rossi 


FLORENTINE SCHOOL 


FIFTEENTH CENTURY 


406—FIrTEENTH CENTURY MarsBLe Portrait Bust 
Bust portrait of a middle-aged Florentine merchant with clean- 
shaven face and curling hair, wearing a close-fitting Florentine 
cap with turned-up back lappets, and a mantle draped over his 
shoulders. On octagonal molded and gilded wooden base. 


Height, 19 inches. 


ARNOLFO DI CAMBIO 
1232—1310 


407—K arty FourteENTtTH CENTURY Marsie Portrait Bust 


Life-size bust of a man with regular features and curling hair 
and wearing a round Florentine cap. He is dressed in a tight- 
fitting jerkin fastened closely at the neck. On octagonal 


molded and gilded wooden base. (Restored. ) 
Height, 19 inches. 


Arnolfo di Cambio, one of the most celebrated early fourteenth 
century architects and sculptors, was a distinguished pupil of Nicola 
Pisano. The churches of Sta. Croce and Sta. Maria del Fiore in 
Florence are monuments to his skill. 


NORTH ITALIAN SCHOOL 


FourTEENTH CENTURY 


408—FourtEENtTH Century Marsir Porrrarr MEpALLiIon 
Circular medallion, framed with a wreath of leaves and berries 
. with cross bands of ribbon and occupied with a profile portrait 
| y head, looking to the left, of a lady, probably a queen, with curl- 
ss ing hair confined by a net and with pearl-embroidered lappets. 
The panel is of the fifteenth century. 


Diameter, 16 inches. 
(Illustrated) 


NORTH ITALIAN SCHOOL 


SIXTEENTH CENTURY 


409—SIXTEENTH CENTURY LomparpIc MarsLE MEDALLION 


60 Circular medallion, occupied with a portrait head in profile, 

"4 ae looking to the right, of a Roman Emperor with curling hair and 

4 beard tied with a ribbon ‘fillet, and wearing a “radiated” crown. 
After the antique. 


Diameter, 22 inches. 
(Illustrated) 


ALESSANDRO ALGARDI 


SEVENTEENTH CENTURY 


410—SEVENTEENTH CENTURY MARBLE PORTRAIT 


Oval medallion, supported by two puttc and enclosing a bas- 


vom relief bust portrait of an ecclesiastic with a skull cap, long curl- 
et ing hair, a closely buttoned cossock and a turned-over linen 
; ~ collar. Arm and foot of putto missing. 
\ 6 Height, 20 inches; width, 22 inches. 
\ 9 
i 


(Illustrated) 


411—Marsie Heap (Roman, of the second century A.D.) 
Head of a statue of Juno, with curling hair confined by a fillet. 
On a fifteenth century Istrian stone molded cylindrical base en- 
riched by carving, and square pedestal with tongue-shaped 
leaves at the angles. 
Height, 21 inches. 
(Illustrated) 


412—Marste Hrap (Roman, of the first century A.D.) 
4), Head of a statue of Apollo with long curling hair confined by a 
aE K ‘ knotted fillet. On cylindrical molded marble base. 


Height, 21 inches. 
(Illustrated) 


413—MarsiE Bust or A Warrior (Roman, of the second century 
A.D.) 
Bust of a youthful warrior looking downward and wearing a 
steel helmet with visor, and a breastplate with shoulder-pieces 
enriched with figures of bearded warriors in low relief, and a 
winged mask in low relief in center of breast. On contemporary 
cylindrical molded base. 


Height, 35 inches. 
(Illustrated) 


GIP SIT IL¥ 


LEONE LEONI 
1525—1587 


414—SIXTEENTH CENTURY LomBARDIC MARBLE Bust PortTRAIT OF 
Cosimo I pr’ Mepici1, DuKE or FLORENCE 
Bust of a middle-aged man with curly hair, a spade-shaped 


hI 


mA AV beard and mustache, betraying strength and determination in 
; 7’) the strong features with tightly closed lips. He wears a classic 
L y 


toga secured at the left shoulder with circular brooch. On 
square base. 
Height, 23 inches. 
(Illustrated) 


LEONE LEONI 
1525—1587 


415—SIXTEENTH CrentTURY LompBarpIC MARBLE Bust PorTRAIT OF 
A Ducuess or THE Mepic1 FAMILY 


ered sleeveless tunic, underbodice with full sleeves of silk and 
stiffly starched lace-bordered ruff. Around her neck she wears 
a necklace of large pearls, falling in two loops over the tunic. 
Her hair is curled and dressed to fall on either side of the face, 
which looks downwards with an enigmatic smile on her lips. 
(Nose restored. ) 


u 
ne Bust portrait of a lady in fifteenth century costume of embroid- 


Height, 25 wches. 


Perhaps the most famous Lombard artist of his day, Leone Leoni, 
goldsmith, medallist and sculptor, was called not only “Il Cavaliere 
Aretini,” but also I] Scultore Cesareo, because he made so many portraits 
of the Imperial family. 


, (Illustrated) 


La LEONE LEONI 


Pe aa 1525—1587 


yi, 416—SrxreentH Century Lomparpic Marsie Busr Porrratr or 

5 eo Kine Puinir II or Spain 

ti f f) sk Bust-length portrait of the monarch na steel breastplate with 

Be, large riveted shoulder guards and a high standing collar bor- 
dered with lace. He wears his hair long and carelessly thrown 
back, and the familiar mustache and goatee. On square base. 


(Illustrated) Height, 26 inches. 


414 


416 


\ ! ~ 


: LORENZO BERNINI 
1598—1680 


4 a 


6° 
Y 417—SEVENTEENTH CENTURY Marsie Bust Portrait 

Bust of a lady of the Roman court with hair drawn back from, 

and plaited above the forehead and falling behind in a loose 

lock. She is dressed in a loose robe bordered with Venetian 

point lace. On cylindrical carved, molded, fluted and gilded 
marble base. 

Height, 35 inches. 

This and the two following busts by Cavaliere Lorenzo Bernini 


came from the Villa Lamporecchio, built by Prince Rospiglioni during 
the seventeenth century from a design by Bernini. 


ne _ LORENZO BERNINI 


1598—1680 


418—SEVENTEENTH Century Marsix Bust Porrrarr 
Bust-length portrait of a young lady of the Roman court. Her 
curling hair is brushed back from the forehead and falls in two 
long ringlets over her shoulders. She is dressed in a loose-fitting 
robe trimmed with punto gotico lace. On cylindrical carved, 
molded and fluted marble base. 
Height, 33 inches. 


LORENZO BERNINI 
1598—1680 


419—SEVENTEENTH CENTURY Mars_e: Busr Powmarr 


Bust-length portrait of an ecclesiastic with lea 
v0 and curling hair brushed back | from. the forehea 

a loose cassock-like robe buttoned up to the n 
drical carved, molded, fluted. and. gi ded marble 
wooden pedestal elaborately carved with cherubir 
and with a shield-shaped escutcheon charged with a 
of-arms and surmounted by a aa tiara and cr 
Completely gilded. — ‘ 


fi Sac: ae nia ae . | 
(Illustrated) | a 


No. 419—SEVENTEENTH CENTURY Marsie Bust Porrrair 


ANTONIO ROSSELLINO 
1427—1490 


420—F IF TEENTH CENTURY FLORENTINE MARBLE BAS-RELIEF 


Rectangular tablet, carved in-low relief with a subject of 
“St. Jerome in the Desert.” The saint, with beardless, 
emaciated face, kneels in front of a rocky grotto adoring a cru- 
cifix at the foot of which is a skull. At the saint’s side is the 
emblematic lion, in the mid-distance a hound and in the distance 
a landscape with trees and two men with a loaded camel. On 
the right is a stag, and on the left a squirrel. In old Tabernacolo 
frame. Molded cornice and base. 

Height, 23 inches; width, 18 inches. 


Antonio Gamberelli, better known as Antonio Rossellino, was one of 
the greatest scholars of Donatello and was almost the founder of a new 
style in sculpture, his works being more intellectual and pracefully re- 
fined, if less elevated and religious, than those of his predecessors. Vasari 
says that they “may be justly called the really true modern style.” 
The similarity of the landscape and general technique of this example to 
one of the “Madonna” by Antonio, now in the Bargello, is curiously 
apparent. 

(Illustrated) 


No. 420—FrereentH Century Fiorentine Marsie Bas-RELIEF 


pe BACCIO BANDINELLI 
\ 1487—1559 


421—SIxTEENTH CENTURY FLORENTINE MARBLE BAS-RELIEF 


Rectangular tablet, carved with the half-length seated figure of 
the Virgin, with braided hair and clothed in an elaborately em- 
broidered robe and mantle, holding in her arms, her right hand 
resting on His shoulder, the standing figure of the Child Christ, 
with curling hair and clothed in a tunic confined at the waist 
by a folded sash. In a contemporary Tabernacolo frame of 
wood, with molded cornice, voluted side brackets and molded 
base. 


Height, 22 inches; width, 15 inches. 


This bas-relief shows the debt Bandinelli owed to Donatello, whose 
works, at the behest of Leonardo da Vinci, he studied closely. It is 
highly suggestive of the base of the Medicean Monument in the Piazza 
San Lorenzo, Florence. 


(Illustrated) 


TuRY FLORENTINE MarsieE BaAs-RELIEF 


EN 


No. 421—SrixtTEentuH C 


\ ee eS BERNARDO ROSSELLINO 
1409—1 464 


422—FIFTEENTH CENTURY FLORENTINE MARBLE BaAS-RELIEF 

Rectangular tablet, carved, in low relief, with the standing fig- 
ure of the Virgin, her head covered with a veil, and wearing 
a simple robe gathered at the waist and a mantle. With both 
hands she supports the figure of the Child Christ, who stands 
at her side on a cushion. He is clothed in a linen tunic, holds 
a fold of linen in His hands and looks directly at the spectator. 
Both Virgin and Child have haloes and in the background are 
clouds. In old carved and gilded wood 'Tabernacolo frame, 
with molded and dentelled cornice, enriched with egg and dart 
ornament, finely painted frieze, pilasters with Ionic capitals 
and paneled shafts and molded base and apron. 


Height, 231% inches; width, 171% inches. 
(Illustrated) 


No. 422—Firreentu Century FLoRreNntTINE MarsiLe BAs-RELIEF 


- 


423 


BENVENUTO CELLINI 
1500—1571 


SIXTEENTH CENTURY FLORENTINE MARBLE BAS-RELIEF 


Rectangular tablet, carved in low relief with a subject of 
“Venus and Cupid.” The Goddess, completely nude, lies full 
length and turns toward the smiling Cupid on the left as though 
just aroused from sleep. On the right is a youthful satyr who, 
holding a torch in one hand, with a malicious grin withdraws 
with the other the draperies from the recumbent Venus. In 
an old carved and gilded frame with molded and dentelled 
cornice and voluted brackets. 
Height, 19 inches; width, 25 inches. 
The figure of Venus is remarkably like that of the large Venus by 
Benvenuto Cellini now in the Louvre. This bas-relief came from the 
small collection of the Perruzzi family (related to the Medici and, in 
the fifteenth century, one of the most distinguished families of Flor- 


ence), and with it, originally, was the bas-relief of “The Flagellation” 
now in Berlin Museum. 


(Illustrated ) 


AAITAU-SVG ATHUVi, ANILNAYOTY AUNLINGA) ALNAALXIQO—€Gp “ON 


424—T HIRTEENTH CENTURY COLORED IsTRIAN STONE STATUE 


Figure of the Madonna seated and holding on her knee the 
Christ Child. Her hair is long and confined by a fillet. She 
is dressed in a loose robe and mantle held at the throat by a 
quatrefoil brooch and in her right hand she holds a clasped mis- 
sal supported on her knee. On her left knee she supports a 
seated figure of the Christ in a loose robe and with a cap fas- 
tened at the breast by a leaf-shaped clasp. He has curly hair 
and His hands are missing. Both faces show evidence of a 
Byzantine influence. Of Istrian stone, with the original poly- 
chrome decoration. 

Height, 24 inches. 


ANTONIO GAGINI 


ag FIFTEENTH CENTURY 
] 425—FirTEENTH CENTURY ITALIAN MarsiE FIGURE 
Nude figure of a youth supporting with his right hand a lamb 
which lies across his shoulders. His left arm holds a cornu- 


copia from which formerly issued a stream of water. 
Height, 33 inches. 


This statue, part of a baptismal font, came from the sacristy of 
a Neapolitan church, destroyed during the modernization of a part of 
the city. 


Ke 


PERGAMENIAN SCHOOL 


Arout Sreconp Century B.C. 


426—TueE Dyinc GAUL 


Seated figure of a wounded Gaul bleeding from a sword stab 
in his body. He is seated on a pointed shield having in its 
center a Medusa-like head, and his body is inclined forward 
from the hips, with the head, with close curling hair, bent in an 
attitude of dejection. His legs are stretched out before him, 
the right one quite straight, the left one slightly bent. Around 
his waist is a girdle formed of a leather strap with iron links. 
On oval marble base. Of Pentelic marble, invested with a dark 
brown patina due to the effect of much weathering. Head and 
feet restored, and right leg repaired. 


Height, 20 inches; length, 31 inches. 


At Pergamos, in Mysia, Greek sculptural art flared upward in 
one triumphant burst before finally settling into oblivion of consummate 
mediocrity. The new school, for it amounted to little less, was formed 
under the influence of King Attalus I (241-197 B.C.) and was called 
upon to glorify the victory of Attalus over the Gauls (239 B.C.) in 
a series of groups and compositions, and the Pergamenian sculptors so 
well acquitted themselves that one of their types of a conquered but un- 
subdued race forms one of the chiefest treasures of the Capitoline 
Museum in Rome. As the “Dying Gladiator” our fathers knew it, but 
to-day it is more rightfully termed “The Dying Gaul.” The figure 
of “The Captive Gaul” so rivals it in poignancy of expression and in 
rare sculpturesque quality that it may fairly claim to companion it 
on equal terms. The statue has for long been exposed to the elements, 
and its patina gives evidence of the effects of this weathering, Other 
statues from the same frieze are to be found in the Muscums of Naples 
and Venice. 


(Illustrated ) 


No. 426—Tue Dyine Gaur 


POLYKLEITOS OF SICYON 


Greek Scuupror or THE FirrH Century B.C. 


427—Partan MARBLE Torso oF A YOUTHFUL ATHLETE 


., Figure, almost to the knees, of a boy athlete. Shown as a nude 

(¥ youth with closely curling hair, the head inclined forward, 
the face down-looking and the features, of extreme masculine 
beauty, charged with a pensive expression. The pronounced 
muscular development of the body, the clearly indicated ana- 
tomical structure of ribs and breast bone and the prominence 
of the lyre-shaped abdominal muscles are all exceedingly char- 
acteristic of Polykleitos and his school. The head has been 
broken off, but has been replaced; there are slight restorations 
to the upper lip and the nose, as well as to the left hip. The 
arms are missing, but the rectangular socket for the tenons 
which originally held them in place are plainly visible. ‘The 
torso has for base the capital of a Greek Ionic column of the 
second century B.C., with plain volutes, a band of egg and dart 
molding, and bolsters formed of banded pointed leaves. Of 
white Parian marble, with a fine patina, beautifully colored by 
age and showing only a few surface indications of burial. 


Height, 3 feet 1114 inches. 
From the Borghese Palace, Rome. 


This statue, excavated in the gardens of a Villa in Rome, was for 
long in the Borghese Collection in Rome, and, save that it was accident- 
ally omitted from the official Fide Commisso, would have passed with the 
rest of the Borghese Museum into the possession of the City of Rome. 
His belief that it is a work of the contemporary and rival of Pheidias, 
the Argive sculptor of the Diadumenos in the British Museum, the 
Doryphoros at Naples and the Amazon in Berlin, Signor Bardini 
shares with many European critics of eminence. Peter von Bienkowski 
has written an exhaustive monograph “On a Statue by Polykleitos” in 
the monthly Review of the Leipsic Museum, of which he is the Director. 
He begins by saying: “To Signor Bardini of Florence belongs the 
Statue of a Youth in Parian marble.- This statue comes from the Villa 
Borghese and is very well preserved, having retained even its original 
surface’; and continues: “As one can see almost at the first glance, 
we have here to do with a work of Polykleitos. Its movement and bear- 
ing are so intimately suggestive of the Diadumenos that, were it not 
for the fortunate preservation of the head, one might have supposed this 


No. 427—Parian Marsue Torso or A YouTHFUL ATHLETE 


[No. 427—Continued | 

torso to be a replica of that statue. Like the Diadumenos, the Bardini 
Youth arrests his stride and turns his head to the right.” The writer 
then points out that the proportions of the Bardini athlete scarcely 
differ from those of the celebrated Canon of Polykleitos and that the 
details of the modeling, such as the lyre-shaped outlines of the abdom- 
inal cavity, are of themselves essential characteristics of the Polykleitos 
style, though these, he avers, are displayed by the head even more than 
by the body. The shape of the head, the arrangement of the hair, the 
shape of the ears, are all as in the Doryphoros and the statues related 
to it. Finally, he adds: ‘The half-open mouth, the broad planes of 
the delicate cheeks, the whole expression of the wonderful nobility and 
modesty shown in the refined face, remind one of the Diadumenos and 
the Amazon. From all this it seems to me that the Bardini Athlete 
displays so plainly the characteristics of Polykleitos as one knows them 
from his authentic and recognized works that I wish to attribute the 
original, naturally of bronze, to the Master himself.” 

The loss of the arms prevents any positive determination, according 
to the writer, of the reason for what must have been their raised posi- 
tion, and no contemporary works throw any light upon the subject, for, 
as he points out, the only statue that is probably a copy of the Floren- 
tine Athlete is in the Uffizi (No. 76, Alinari Photo I, 1170) and that has 
no arms or thighs and is headless. ‘“‘So,’’ he concludes, “it only remains 
to seek an explanation in the head itself of the Bardini Statue. The 
unswollen ears and the delicate contours of the lower part of the face 
show that the youth represented was not a hero of the fist, or 
Pancratium, but must have been the winner of a race, or of the Pen- 
tathlon, in which it was a question rather of agility than of mere 
brute strength.” 


(Illustrated) 


PISAN SCHOOL 


FourtTEENtH CENTURY 


428—FourRTEENTH CENTURY MAarBLE STATUE 

_) Standing figure of the Virgin in a tight-fitting tunic and loose 
ae mantle, with long hair and wearing a trefoiled crown. On her 
left arm she carries, and with her right hand points to, the Child 
Christ, who is nude to the waist; with His right hand He sup- 
ports Himself by His Mother’s tunic and in His left He holds 
a bird. On circular base. 


Height, 39 inches. 
(Illustrated) 


No. 428—FovurtTEENTH CENTURY MarBLE STATUE 


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PISAN SCHOOL 


FourtTEENTH CENTURY 


Parr oF FourtTEENTH CENTURY MarBLE STATUES 

Chief figures in an Annunciation. The Virgin, clothed in a tunic 
and loose mantle with a veil thrown over her head, stands in a 
listening attitude, her right hand holding an open missal. The 
Angel Gabriel, shown as a youth with curling hair, stands hold- 
ing open with both hands a parchment scroll. Both figures are 
on circular bases and are supported on similar contemporary 
columns with heavily fluted shafts, molded bases and square 
pedestals, with tongue-shaped leaves at the angles. 


Heights of statues, 45 inches; of bases, 87 inches. 


(Illustrated ) 


oe & 


Pair or KiGHTEENTH CENTURY MarBLE FLOWER-HOLDERS 
Oval shape, with incurved sides and plain rim and base. The 
sides fluted and carved with two goats’ heads and two ribbon 


bows, supporting festoons of ivy leaves and berries. Of white 
statuary marble. 


Height, 2 feet 51% inches; diameter 2 feet 8 inches. 


431—THIRTEENTH CENTURY ITALIAN MArsBLE Hoty Water Stoup 


5 L 


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Circular bowl, with straight sloping side and annular rim, 
studded at regular intervals with sea-horses in the form of hu-’ 
man masks. On fluted columnar step spreading to a polygonal 
foot. Ona square marble base of second century B.C. Etruscan 
workmanship. At the angles are rams’ heads with large voluted 
horns, the plinth between being decorated with figures of danc- 
ing satyrs. Below, the edge is molded. 


Height, 5 feet; diameter of bowl, 3 feet 4 inches. 
(Illustrated ) 


THIRTEENTH CENTURY IraLtIAN Marsite Hoty Water Stoup 
Circular coupe-shaped bowl,- with heavily gadrooned sides, ter- 
minating around the rim with a Gothic-like arcading. The stem 
is formed as a tapering fluted column, with molded capital and 
base, the whole standing on a square base, with molded sides 
enriched with bands of guilloche and vine-leaf patterning, and 
resting on two couchant lions of highly conventional character. 


Height, 5 feet; diameter of bowl, 2 feet 9 inches. 
(Illustrated ) 


433—TirTEENTH CENTURY RomMAN MarsBLE MANTELPIECE 


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Of white marble. Molded cornice, enriched by acanthus-leaf, 
beaded and egg and dart carvings and frieze carved with three 
festoons of fruits, flowers and leaves separated by two shaped 
shields, one charged with the coat-of-arms of the Borgia family, 
a bear and three pellets, the other with the initials “G. P. Q.,” 
supported on two voluted console brackets carved with flutings 
and two paneled pilasters carved with pendants of fruits and 
leaves. Fitted with raised stone hearth. 


Height, 6 feet 1 inch; width, 5 feet 4 inches. 
(Illustrated ) 


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434—FIrTrENTH CENTURY FLORENTINE STONE MANTELPIECE 
Of graystone or pietra serena. Molded cornice, enriched with 
ege@ and dart carving and paneled frieze carved with two flying 
amorini holding with outstretched arms and scrolled ribbons a 
wreath of laurel leaves and berries enclosing a shaped shield 
charged with a coat-of-arms, supported on two voluted con- 
sole brackets, the fronts carved with laurel leaves, and on pan- 
eled pilasters enriched with pendants of shields and weapons. 
Square base. 
Height, 7 feet 1 inch; width, 7 feet 2 inches. 


435—FirreentH Century Umprian Ursino Stone MANTELPIECE 
Mantelpiece of cream-colored Urbino stone, with molded cor- 
nice enriched with egg and dart carving and paneled frieze en- 
closing a carving in low relief of two flying amorini holding with 
both hands a wreath of laurel leaves occupied by a shaped shield 
supported by two acanthus-leaf carved, voluted console brack- 
ets, below which are paneled pilasters, the shafts enriched with 
stems of pointed leaves carved in low relief. 


Height, 6 feet 1 inch; width, 5 feet 4 inches. 


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' 436—Firreentu Century FLORENTINE STONE MANTEL 


Of graystone or pietra serena. Surmounted by a shaped over- 
piece carved in the center with an urn-shaped fluted vase in 
front of which is a shaped shield charged with the fleur-de-lis of 
Florence. From the vase depend two festoons of fruits and 
leaves, the other ends of which are held by winged amorini hold- 
ing pointed shields. The cornice of the chimneypiece proper is 
molded, enriched with an egg and dart carving, and the frieze 
is paneled with a beaded molding and enriched with a carving 
of two flying amorini who hold a laurel wreath pierced with a 
cusped rosette and are flanked by two cherubim with folded 
wings. Both are supported by voluted console brackets carved 
with acanthus leaves and by beaded and molded paneled pi- 
lasters enriched with arabesques of acanthus leaves, rosettes and. 
cherubim springing from urn-shaped vases. On square base. 


Height, 7 feet '7 inches; width, 6 feet 7 inches. 


This mantelpiece is more complete than usual, in that it possesses 


the decorative over-piece which marked the starting of the cappa, or . 


tapering hooded smoke-flue, examples of which may now be seen in the 
famous chimneypieces of the Ducal Palace in Urbino. 


(Illustrated ) 


— 


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{ No. 436—Firreentn Century FLORENTINE STONE MANTEL 


437—SIXTEENTH CENTURY LOMBARDIC MARBLE TABERNACLE NICHE 


Recessed niche of architectural character, with a semicircular 
pediment having a fluted and lotus-leaf carved arch. molding 
flanked by cinquefoil rosettes and honeysuckle ornaments, sur- 
mounted by two similar rosettes and a flamed vase and occupied 
by a carving in low relief of God the Father shown as a bearded 
man with his arms extended in the act of benediction and sur- 
rounded by four cherubim. ‘The molded and dentelled cornice 
and bowed frieze, carved with honeysuckle and lilies, are sup- ” 
ported by flat pilasters with voluted acanthus-leaf capitals and 
shafts carved with stems of pointed leaves and flowers springing 
from urn-shaped vases. Below the molded base is a segmental 
apron carved with acanthus-leaf rinceaux, cinquefoil blossoms 
and honeysuckles of white marble. 


Height, 5 feet 8 inches; width, 3 feet 2 inches. 
(Illustrated ) 


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No. 437—SixrEentH Century Lomsparpic TABERNACLE NICHE 


488—THIRTEENTH CENTURY STONE FOUNTAIN 


Rectangular sarcophagus shape. Of Istrian limestone. Heavy 
molded top with the upper member enriched with a band of 
honeysuckle ornamentation carved in low relief. The vertical 
sides are carved with five masks of bearded men, some with 
curling hair and some with close-fitting caps, from whose open 
mouths streams of water proceeded. ‘These masks are sepa- 
rated by scrolled acanthus-leaves on fluted grounds, and at the 
angles are voluted acanthus leaves. The receding base is formed 
with a plain cavetto molding and the mountain rests on two 
plainly molded blocks which in turn rest upon the backs of two 
marble couchant lions of fourteenth century workmanship. 


Height, 3 feet 5 inches; length, 4 feet 91% inches; width, 2 feet 4 inches. 


This fountain is peculiarly interesting, as offering a noteworthy 
example of the manner in which the Gothic feeling exerted its influence 
upon the early Renaissance designers. Entirely mediaeval in its con- 
ception, even such obviously Classic details as the Greek honeysuckle 
and acanthus-leaf ornamentation are yet touched with a lingering 
Gothicism. The Lions, fashioned at least a century later, show a 
much more intimate commingling of the two apparently antipathetic 
styles. 


EVENING SALE 


THURSDAY, APRIL 25, 1918 


AT THE AMERICAN ART GALLERIES 


BEGINNING AT 8.15 O'CLOCK 


VECELLI TIZIANO—TITIAN 
VENETIAN: 1489—1576 


440—PEN AND INK DRAWING 


Stupy for a landscape. On the right is a trunk of a tree, seated under 
which is a figure in classical costume with right arm upraised. On 
the left is a clump of trees and shrubs. 

A recent biographer of Titian says: ‘‘No estimate of Titian’s art would 


be sufficient without mentioning the surpassing beauty of his landscape back- 
ground.” 


GIOVANNI DOMENICO TIEPOLO 
VeneTIAN: 1727—1804 


441—GROUP OF NINE SKETCHES IN SEPIA 
(For ceiling decoration) 


(a) Bearded man in flowing garments supporting a youth with his 
right arm. Background of clouds and cherubim. 


(s) Elderly bearded man in loose robes, with winged angel below. 
Background of clouds and cherubim. 


(c) Bearded man in loose robes, with outstretched arms between 
which is the figure of a youth. Background of clouds and cherubim. 


(p) Bearded man seen from behind, with one arm upraised. Below 
are figures of angels. Background of clouds and cherubim. 


(x) Groups of figures, the center one falling as from a height with 
outstretched arms. Background of clouds and cherubim. 


(F) Central bearded figure in loose robe, with both arms raised, ~ 
supported by winged angels. Background of clouds and cherubim. 


(G) Elderly bearded man, with left arm extended and clasping a 
child with the right. Supported by winged angels and clouds. 


(1) Elderly man with long beard, reclining on a cloud, with left 
arm extended and pointing upward. Below are winged angels. 
Background of clouds and cherubim. 


(1) Sketch from life: “The Letter Writer.” Sketch of a veiled 
woman seated at table with writing materials. Man in square-cut 
coat and cocked hat, seen from the rear, talking to her. Background 
of arched niche, with shelf supporting flasks. | 


GIOVANNI BATTISTA PIAZETTA 
VENETIAN: 1682—1754 


442 GROUP OF EIGHT DRAWINGS 
IN BLACK CRAYON 


(Belonging to the same series as that now on exhibition in the 
picture gallery of Venice) 


(A) Head of a young woman in eighteenth century costume, seen 
in three-quarter view, looking to the left through a lorgnette. 


(8) Head of a youth, seen almost in profile, looking to the left and 
downward as he reads a large book which he supports with his right 
hand. 


(c) Profile view of the head of a young woman turned to the left. 
Her dark hair is twisted into a knot, and she wears a mantle trimmed 
with fur. Her left hand is raised to her breast. 


(p) Full-face view of the head of an old man, clean shaven and 
with long white hair, looking toward the spectator and inclined to 
the left. Over his shoulder is thrown a fur collar and on his breast 
is a large order. 


(e) Portrait of a young man in eighteenth century costume with 
long curling hair and wearing a cambric cravat. Shown almost in 
full face and regarding the spectator. 


(¥) Head of a youth with close-cropped hair, dressed in eighteenth — 
century costume, with a cambric cravat. Shown almost in profile, 
looking to the right and downwards. 


(G) Head of an old woman with white hair and wearing a dark head- 
covering. Shown in profile, looking to the left. 


(H) Head of a beggar with dark disheveled hair, scanty white beard 
and mustache, and wearing a white linen shirt. Shown in three- 
quarter view, turned to the left and looking at the spectator. 


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ITALIAN SCHOOL 


SIXTEENTH CENTURY 


443—CRAYON DRAWING 


Heap of a partially bald elderly man with forked white beard and 
mustache, wearing a turned-over linen collar and tight-fitting jerkin. 


Seen in full face. 
(Illustrated ) 


ANDREA D’AGNOLO (ANDREA DEL SARTO) 
FLorENTINE: 1487—1581 


444—CRAYON DRAWING 


Srupy in life size of the head of a child with curling hair. Seen 
nearly in profile looking to the right. 


(Illustrated ) 


ITALIAN SCHOOL 


SIXTEENTH CENTURY 


445—DRAWING IN TWO-COLORED CHALK 


Heap of a bearded man seen in three-quarter view looking to the 
right. He wears a frilled turned-over collar. 


(Illustrated) 


GIOVANNI BATTISTA PIAZETTA 


446-—DRAWING IN BLACK AND WHITE CRAYON 
Height, — wmches; width, — inches 


Lire study of a sleeping young woman. She lies on the ground 
with her head pillowed on the right arm. Over the left arm is the 
handle of a large basket from which three loaves of bread have 
tumbled out. 

(Illustrated) 


444 


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FLORENTINE SCHOOL 


FirreeNtH CENTURY 


447 HERCULES AND ANTAUS 
(Panel) 


Height, 17 inches; width, 1214, inches 


Hercutrs, completely nude, stands with his back to the spectator, 
his head, with curling hair, thrown back and his face seen in three- 
quarter view. He holds with both arms Antewus, whom he raises 
from the ground. The latter, with his right hand, clutches Hercules’s 
hair and grasps the arm of his adversary with his left. The figures 
are placed in a landscape with a rocky eminence on the left side. 
On the right is a tree from the branches of which hangs a shaped 
shield charged with the coat-of-arms of the Rovere family of Flor- 
ence. In the distance are trees. In old, molded wood frame. 


(Illustrated ) 


FRANCESCO GUARDI 
17121798 


448-VIEW OF SAN GIORGIO MAGGIORE, VENICE 
Height, 15 inches; width, 20% inches 


In the center is the island of San Giorgio Maggiore, with the church 
distinguished by its classic portico, lofty dome and square campanile, 
and on the right a low brick building with a round-arched entrance. 
In the foreground is the Lagoon, having in the center a gondola 
propelled by two gondoliers, and on the right the prow of a ship 
with a flapping sail. In the distance, on the left, is a shore with build- 
ings. Blue sky and white clouds. 


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FRENCH SCHOOL 


SIXTEENTH CENTURY 


449—PORTRAIT OF A BOY 
(Canvas) 
Height, 25 inches; width, 1814, inches 
Ova shape. Half-length portrait, seen in three-quarter view turned 
to the left, of a youth with long hair. He is dressed in a richly em- 
broidered coat of sixteenth century style with full sleeves, lace cuffs, 
a falling lace collar and a beribboned under-jerkin. His right hand 


holds the hilt of a sword and the left rests on his hip. Inscribed: 
‘““AETATIS SVAE VII.”* In old carved and gilded frame. 


RACHEL RUYSCH 
Fiemisu: 1664—1750 


450—d BOWL OF FLOWERS 
(Panel) 


Height, 17 inches; width, 201% imches 


In a bronze bow] is a bouquet of peonies, roses and anemones, some 
of which have fallen out of the bowl and lie on the table. In the 
foreground is a white butterfly. In a carved and gilded wooden frame 
by the famous Brostolone of Venice. 


LUCA SIGNORELLI 
Cortona: 1441—1523 


451—_THE FLAGELLATION 
(Panel) 


To the right of the center, Christ, undraped save for a loin cloth, is 
tied with His hands behind His back to a post, the bands being 
strengthened by a nude man with violent contortions. Around are 
four nude men with scourges, and on either side Roman soldiers. On 
the left is a group of Romans and Jews, and Pilate seated on a throne 
under a canopy. In old molded wood frame. 


Height, 14 inches; width, 36 inches. 
(Illustrated) 


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450 


GERMAN SCHOOL 


SIXTEENTH CENTURY 
452—PORTRAIT OF A YOUNG WOMAN 
(Panel) 
Height, 21 inches; width, 15 inches 


Hatr-tenctu figure of a young woman shown in full face. Her 
dark hair is parted in the middle, brushed smoothly back and bound 
with a circle of beads. Around her neck she wears a necklace with 
center clasp and double-looped gold chain, while in her left hand she 
supports a richly repoussé gold cup, the cover of which she holds 
in her right hand. Through an open window on the right is seen a 
landscape with figures and rocky eminence. 


(Illustrated ) 


PRIMITIVE ITALIAN SCHOOL 


FourTEENTH CENTURY 
453—BIRTH OF THE VIRGIN 


(Polygonal Panel) 


THE polygonal picture is divided into three parts by a flat arch of 
stone supported on two clustered Gothic columns. The center division 
is occupied by the figure of St. Anne (the mother of the Virgin). She 
is seated upright in a large bed at the side of which stands a woman 
offering a platter of fruit. In the center foreground are two figures 
of women, one dressed as a nun, having between them the undraped 
figure of the infant Virgin. In the right hand is the figure of a nun 
holding a metal bow]; in the left hand are two figures of women. In 
the background is seen an open walled courtyard with a niche in which 
is seen a vase of flowers. The influence of Diirer is obvious through- 
out the composition.. In old molded wood frame. 


Diameter, 20 inches. 
(Illustrated ) 


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451 


FLORENTINE SCHOOL 


FIrrEENTH CENTURY 


454—A FLORENTINE PATRICIAN AND HIS WIFE 
(Fresco) 
Height, 22 inches; width, 201% inches 


HALF-LENGTH portraits, seen in profile, of husband and wife im fif- 
teenth century costume. They stand facing each other with uplifted 
hands, the man with his hair in the style of the period and thin, pointed 
beard, his wife with fair hair dressed in a knot behind. The figures 
are placed in a round-arched niche with tiled background, while at 
the left are seen the cupola, tiled roof and machicolated battlement of 
a castle. In old carved and gilded wooden frame. 


FRENCH SCHOOL 


SEVENTEENTH CENTURY 


455—PORTRAIT OF AN ECCLESIASTIC 
(Canvas) 
Height, 28 inches: width, 23 inches 


Bust portrait, the face in three-quarter view and looking to the left, 
of a middle-aged man, clean shaven and wearing a curled wig, a 
turn-over collar and a loose habit buttoned up the front. In old 
pierced, carved and gilded wood frame. 


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Firreentu Century 
456—PORTRAIT OF A PATRICIAN LADY 
Height, 27 inches; width, 20 inches 


THREE-QUARTER-LENGTH portrait of a lady standing, her face seen 
in profile looking to the right. She wears a richly embroidered robe 
of white satin and an embroidered undergarment with tight-fitting 
sleeves, a pearl-embroidered coif, and a frilled ruff. In her right 
hand she holds a rose. In the distance is a mountainous landscape 
with the towers of a castle. In carved and gilt wood frame. 


LAMBERT LOMBARD or SUSTERMANN 
Fiemisu: 1505-1566 


457—PORTRAIT OF LEOPOLDO DEI MEDICI 
Height, 29 inches; width, 21 inches 


HAL¥-LENGTH portrait looking to the left of a young man with long 
dark hair, mustache and small imperial. He wears a steel corselet 
with armpieces, a deep falling lace collar and a blue sash across the 
right shoulder. His right hand rests on a steel helmet. Dark back- 
ground. 


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Fremisu: 1505—1566 


458—PORTRAIT OF A MEDICI 
Height, 33 mches; width, 25 mches 


HAL¥-LENGTH portrait of a young man with face clean shaven save 
for a light mustache, his curling hair plaited into a long braid which 
falls over his left shoulder. He wears a broad-brimmed hat, a deep 
falling lace collar, a steel corselet and a silken sash over the right 
shoulder. In the lower left-hand corner of. the picture is a steel 
morion. 


ATTRIBUTED TO FRANCIS POURBUS 
Friemisu: 1569—1622 


459 —PORTRAIT OF A MANTUAN NOBLEMAN 
Height, 37 inches; width, 291 inches 


T3IREE-QUARTER-LENGTH portrait of a youth in sixteenth century cos- 
tume of striped green jerkin, full crimson breeches and frilled lace 
ruff and cuffs. He wears a jeweled chain and is standing looking 
to the left and rests his right hand on a brass-bound red velvet coffer, 
on which is thrown his steeple-crowned hat. In carved and gilt wood 
frame. 


LUCAS CRANACH 
German: 1472—1553 


460 MADONNA AND CHILD 
(Panel) 


Height, 291 inches; width, 22 inches 


Tue Virgin, strongly German in character, with long fair hair fall- 
ing, in rippling strands, over her shoulders, is seated facing the 
spectator with an air of mild benignity. She wears a red robe with 
large sleeves with gathered linen bands at the wrists. On her lap 
she supports, with both hands clasping His body, the Child Christ 
undraped save for a linen loin cloth. With His head slightly on 
one side He looks inquiringly at the spectator, rests His left hand 
on His Mother’s and the right on a bunch of grapes which she holds 
in her left hand. Dark background. 


Signed in the upper right-hand corner with Cranach’s emblem, a 
flying dragon. 
(Illustrated) 


TOMMASO GUIDI (xnown as MASACCIO) 
FLoreNnTINE: 1401—1428 


461—M ADONNA, CHILD AND SAINTS 


( Panel) 


Height, 37 inches; width, 22% imches 


In the center of the picture, upon a stone throne, sits the Virgin 
presenting her full face to the spectator, wearing a blue mantle with 
white linen veil draped over her head and embroidered undergar- 
ment. On her left knee she holds, with her left hand, the undraped 
figure of the Child Christ, who lifts His right hand in the act of bene- 
diction and holds in His left a scrolled label inscribed “Eco sum.” 
On either side stand two saints, the lower figure on the left side wear- 
ing a bishop’s mitre and holding a crozier. ~All the figures have 
haloes, that of the Christ having a cross. In old, carved, molded and 
painted frame. 
(Illustrated ) 


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GEORGES DES MARIEES 
Frencu: 1697—1776 


EIGHTEENTH CENTURY 
462—PORTRAIT OF A YOUNG PRINCE 
Height, 28 inches; width, 251 mches 


‘THREE-QUARTER-LENGTH portrait seen in full face slightly turned to 
the left of a youth with a notably plump face, and curled hair. He 
wears a black turned-up hat fastened at the side with a jeweled 
aigrette, a short coat trimmed with ermine and an ermine-lined crim- 
son mantle. In his left hand he holds the scabbard of a sword which 
he has half drawn out with his right. On a cushion on the right is 
an Imperial crown. On the left is the base of a column with draperies 
and in the background a balustrading with spherical finial. 


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FRENCH SCHOOL 


SEVENTEENTH CENTURY 


468—PORTRAIT OF A SOLDIER 
Height, 43 inches; width, 30 inches 


THREE-QUARTER-LENGTH portrait of-a man with face turned to the 
right. He wears a full curling peruke, steel armor consisting of a 
breastplate and armpiece, a lace and cambric steenkirk and a silk 
sash. The right hand rests on the top of a cane. The left is sup- 
ported by the sash. Background of sky and clouds. 


SPANISH SCHOOL 


SIXTEENTH CENTURY 


464—PORTRAIT OF A SPANISH NOBLEMAN 


(Canvas) “ 


Height, 501% inches; width, 41 inches 


THREE-QUARTER-LENGTH portrait with face turned to the right of a 
young Spanish nobleman. He is clean shaven, save for a slight mus- 
tache and dressed in a sixteenth century costume of pointed jerkin, 
buttoned at the front with tight-fitting undersleeves and puffed knee 
breeches. He wears a lined cloak thrown over the right shoulder, a 
lace ruff around the neck and ruffed wristlets. His left hand rests 


on the hilt of his sword. Dark background. Carved and gilded 
wood frame. 


ITALIAN SCHOOL 


SEVENTEENTH CENTURY 


465—PORTRAIT OF A SPANISH 
CARDINAL ARCHBISHOP 


Height, 571% inches; width, 37 inches 


Neary full-length portrait of an ecclesiastic. He stands facing the 
spectator, with bushy dark hair, a mustache and imperial, wearing 
a brown-colored cape from under which appears a cassock with bands 
of lace insertion, a Vandyked border and lace cuffs to the full sleeves. 
The right hand rests on a table on which stands an archbishop’s mitre 
and in the left he holds a leather-bound book with silver clasps. Dark 
background. In old carved and gilded wood frame. 


FLEMISH PRIMITIVE 


FirrEENtTH CENTURY 


466—THE EXHIBITION OF CHRIST TO THE - 
PEOPLE: WINGS OF AN ALTARPIECE 


(Panel) 
Height, 38 inches; width, 11 inches 


Two rectangular-shaped panels. - One occupied by a painting, in 
monotint, of the figure of Christ, after the flagellation, undraped save 
for a loin cloth and shoulder cape and with His hands tied in front — 
of Him, surrounded by a soldier with a scourge, the Jewish high 
priest and a man in pointed high hat; the other, with a group of 
Jews, lifting their hands and turning aside their faces in an attitude 
of negation. Both groups are on semi-octagonal bases with acanthus 
bracketings and in arched niches, one of them surmounted by a bell- 
shaped canopy. In old painted and gilded wood frame. 


ITALIAN PRIMITIVE 


Pisan ScHooL or THE FourRTEENTH CENTURY 


467—TRIPTYCH 
(Panel) 


Height, 40 inches; width, 44 mches 


CENTER panel with pointed top and two hinged wings. Center panel 
with subject in low relief and in gilded gem of a standing figure of 
Christ in glory with right hand upraised in the act of benediction, 
the left hand holding a book and with rays proceeding from. the 
wound in His. side. Around Him are twelve adoring angels with 
upraised hands. The background is incised with a pattern of scrolled 
vine leaves. Below is a painted panel representing the service of the 
Mass. On either side a priest and a deacon are celebrating at an altar, 
while in the middle a priest administers the host to a communicant. 
The wing on the right hand is occupied with a figure of Christ en- 
throned and resting His hands on a crucifix on which is a figure of 
Himself. Below, a monk is preaching from a wooden pulpit to an 
audience of monks and laity, while below stands a bearded and ton- 
sured monk. That on the left is occupied at the top with a figure 
of the Virgin seated and holding the Christ Child. Below are twelve 
panels, each representing an incident in the life of Christ, including 
Christ bearing the Cross, the Crucifixion, the Flagellation, the Trial 
before Pontius Pilate and the Reception into the Glory. 


No. 467—Trivtycu 


FRANCESCO UBERTINI (known as IL BACCHIACCA) 
1494— 1557 


468-—THE CHILDREN OF ISRAEL 
AND THE MIRACLE OF MANNA 


(Panel) 


In the center, slightly to the left, stands Moses, directing the people 
with his rod of office. Some are seated behind him and others ap- 
proach him carrying vessels of gold and silver in which they have 
stored the manna which others are still gathering from the ground. 
Directly behind Moses stands Aaron, emptying into a vessel held 
by a woman the “omer” of manna he was to preserve. In the middle 
distance is a rocky landscape with other groups of figures, some of 
whom are catching the quail sent in a miraculous flight. In the fore- 
‘ground are leopards, goats, an ox and a giraffe, and in the distance 
an arm of the sea with mountains and buildings. 


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SPANISH SCHOOL 


SEVENTEENTH CENTURY 


469—THE ROMAN DAUGHTER 
(Canvas ) 
Height, 37 inches; width, 44 inches 


Tur Roman father condemned to imprisonment occupies the center 
of the canvas. He is seated in his cell, nude save for a mantle thrown 
over his left shoulder and with his hands manacled. His stern, 
bearded face is seen in profile turned to the right. On the left, grasp- 
ing with one hand the bars of the grated window, his young daughter 
stands looking inward at her parent. ‘The only light comes through 
the barred window. In old carved, painted and gilded wood frame. 


ATTRIBUTED TO JAN FYT 
FLemisu: 1609—1661 


470—STILL LIFE 
(Panel) 


Height, 37 inches; width, 50 inches 


On the right, resting on a trestled table with a red cloth, is a repoussé 
brass vase in which are a white napkin, a bunch of asparagus and 
a blue and white delft bowl of strawberries. In the center a dead 
hare, ducks and artichokes, while on the left is a round wickerwork 
basket filled with bunches of white and purple grapes. Dark back- 
ground. 


ROMAN SCHOOL 


SEVENTEENTH CENTURY 
471—SET OF THREE DECORATIVE PANELS 
Height, 41 inches; width, 51 inches 


ReEcTANGULAR shape. In the center of each is an oval escutcheon sup- 
ported by nude kneeling figures and surmounted by nude putt. 
These escutcheons are occupied with emblematic devices: (A) A globe, 
an open book and a sword; (B) the open Tables of the Law and a 
hand clasping a naked sword; and (c) a bursting bomb im the air 
above a fortress. Two have Latin mottoes and one a French motto, 
on scrolled labels. Above them are the skulls of oxen and catenaries 
in gold; on either side are caryatids, and below, masks and festoons 
of fruit and leaves. 


ATTRIBUTED TO MELCHIOR DHONDECOETER 
16386—1695 . 


472--FLOWERS AND BIRDS 
(Canvas) 
Height, 67 inches; width, 50 inches 


In the foreground are two geese and a mallard duck having behind 
them in the middle distance a molded stone plinth of which the top 
is strewn with brilliantly painted cut flowers. On the left is a carved 
stone fountain and on the right a peacock. Above is a looped drapery 
and, beyond, a park with clipped hedges and a flight of marble 
steps with, in the distance, a mansion of white stone. In carved and 
gilded wood frame. 
(Illustrated) 


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SCHOOL OF PANINI 


Eicureenru CEenrury 

473—RUINS: PAIR OF DECORATIVE PANELS 
(Painted in Tempera on Canvas) 
Height, 55 inches; width, 88 inches 


(a) In the center, classic ruins consisting of a cluster of Corinthian 
columns with marble shafts and the springing of an arch. Qn the 
left are a weir with falling water, a stream crossed by a bridge and 
a Palladian palace. In the immediate foreground are fragments 
of masonry and figures. ; 


(B) On the right, a ruined portico with Doric columns and a flight 
of steps. In the distance, a Gothic Church with spire and gable. In 
the immediate foreground on the left, the large scrolled wings of a 
flight of steps and figures, and on the right a broken rusticated 
column. 


In shaped, molded and gilt wood frames. 


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SCHOOL OF PANINI 


EIGHTEENTH CENTURY 


474 RUINS: PAIR OF DECORATIVE PANELS 


(Painted in Tempera on Canvas) 
Height, 55 inches; width, 38 inches 


(A) On the left is a classic ruin consisting of a semicircular columnar 
peristyle enclosing a pillared sarcophagus and surmounted by a 
cornice and statue. In the foreground is a sweep of steps and figures. 
On the right is the prow of a boat with a furled sail, and in the dis- 
tance a port with hills and buildings. Blue sky with white clouds. 


(z) On the right is a classic ruin consisting of one massive column, a 
flight of steps and a brick arch with a scaffolding and shed of wood. 
In the center is a stream of water with a wooden bridge over which 
two cows are crossing. On the left is a clump of trees. The bank 
of the stream, with two figures, forms the foreground, and in the 
middle distance is a fountain with figures. Landscape background 
and blue sky. 


In shaped, molded and gilt wood frames. 


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SCHOOL OF PANINI 
1691—1764 


475—SHAPORTS: PAIR OF DECORATIVE PANELS 


(Painted in Tempera on Canvas ) 
Height, 55 inches; width, 51 inches 


(A) On the right the wing of a ruined classic portico with Dorie col- 
umns and ball-shaped finials. In the middle distance a ruined arch 
supported by two Romanesque columns. In the immediate fore- 
ground on the left a large grindstone under a wooden pent roof with 
two men at work and children playing, in the middle distance a boat 
with sail, on the right a seaport and in the distance an areading, build- 
ings and a tower. 


(B) View of a seaport with a classic portico with twin Dorie columns 
and arched pediment, a pointed arch with Corinthian fluted columns, a 
balustrade and a stone vase. Below is a stone cistern and figures. In~ 
the center, an arm of the sea, while in the distance are classic ruins 
and an obelisk. Blue sky with white clouds. 


In pierced, carved and gilt wood frames. 


SCHOOL OF PANINI 


EIGHTEENTH CENTURY 


476—RUINS: PAIR OF DECORATIVE PANELS 


(Painted in Tempera on Canvas) 
Height, 65 inches; width, 51 inches 


(a) In the center is a classic ruin consisting of a variegated marble 
Composite Corinthian column and pilaster with a cornice and the 
start of a broken arch. In the foreground are two contadine, and in 
the middle distance a ruined arch with scaffolding, a hoisting wheel 
and workmen. In the distance are a pyramidal building and a square 
tower. Blue sky and white clouds. 


(B) On the right are a round-arched portico with fluted columns, a 
balustrade above and stone vases at the side. In the foreground is a 
group of soldiers with a standard and drum and on the right a broken 
marble column. In the middle distance an arched courtyard with two 
figures, with a mountainous landscape in the background. Blue sky 
with white clouds, 


In shaped, molded and gilt frames. 


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BOLOGNESE SCHOOL — 


EIGHTEENTH Cexrury 


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477 ARCHITECTURAL PANEL 


(Eainted | in Sanna on Canvas) 


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fluted Doric columns at the base of one of ¥ al 
flowing robes. On the left is a pedestal surmot 
Minerva seated and a pedimented entrance doo1 
in Roman armor. On the right is a_ broken flu 
the distance, thr ough an arched and balustra 
Hane caD ee with a eos ruin and figures. pas 


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BOLOGNESE SCHOOL 


EIGHTEENTH CENTURY 


478 —ARCHITECTURAL PANEL 


(Painted in Tempera on Canvas) 
Height, 65 inches; width, 76 mches 


Inrertor of a church. In the center is a pointed arched bay sup- 
ported by projecting fluted classic columns and enclosing a consoled 
pediment supporting an equestrian statue in bronze. On the right 
is a sarcophagus-shaped tomb and on the left a large wreath-encircled 
vase with a group of figures below. In shaped, molded and gilded 
wooden frame. 


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BOLOGNESE SCHOOL 


EIGHTEENTH CENTURY 


479—-LANDSCAPE PANEL 


(Painted in Tempera on Canvas) 
Height, 85 inches; width, 60 inches 


THE flight into Kgypt. In the center is the Virgin, with the Child 
Christ seated upon a donkey, with St. Joseph at her side. Above 
them is a large tree with one broken limb and foliated branches. On 
the right is another tree, with a stream on the banks of which are two 
figures and a rocky landscape in the distance. In the foreground on 
the left is a seated figure. In molded and gilt wood frame. 


BOLOGNESE SCHOOL 


EIGHTEENTH CENTURY 


480—LANDSCAPE PANEL 


(Painted in Tempera on Canvas) 
Height, 85 inches; width, 76 inches 


A WATERFALL. In the center is a tree with foliaged branches, beneath 
which a young woman is seated on a donkey, with a bearded man with 
wide-brimmed_ hat by her side. On the right is a rocky waterfall, 
formed of three steps, and in the distance a landscape with figures. 
In molded and gilt wood frame. 


ITALIAN PRIMITIVE 


Scuoou or Pisa: FirreEENTH CENTURY 


481— FIGURE OF SAINT STEPHEN 
: (In Oil on Panels) 


Height, 5 feet 10 inches; width, 2 feet 10 inches 


K'igure of a saint shown as a deacon, clean shaven, standing upright, 
holding in his right hand a palm branch and in his left an open book. 
His head is tonsured, surmounted by the symbolic stone and sur- 
rounded by a gilt halo. He wears a rich deacon’s dalmatic, the collar 
embroidered with an “Ave Maria,” the body with crane-like birds 
symmetrically disposed, and the cuffs and apparel of rich brocade. 
The alb below is of white linen with a brocaded apparel, and the 
maniple is embroidered with crosses. Behind him is a brocaded hang- 
ing, and he stands in front of a square recess, the side pierced with 
Romanesque, round-arched windows, through which are seen, on one 
side, a landscape with winding stream and a turreted building and, on 
the other, two yew trees. At the same side kneels the miniature figure 
of a tonsured ecclesiastic with a scrolled label inscribed in Gothic 
characters, “FRAT MATEN LAY prior.” In molded and gilt wood frame. 


FLORENTINE PRIMITIVE 


FiIrrEENTH CENTURY 
482-THE STORY OF DAEDALUS 
Height, 23 inches; length, 71 inches Pe 


Front of a cassone divided into three panels, separated by fluted 
pilasters and flanked by figures of warriors with clubs holding pointed 
shields. In the left-hand panel Theseus and the Minotaur are shown 
in the Labyrinth constructed by King Minos. At the entrance are 
the King and a sentinel, and on the left is a river with the prow of a 
ship. The background is a landscape. In the center, d%geus is cast- 
ing himself into the sea, where his son, in error, displays a black sail, 
while in the right-hand panel, Daedalus is shown flying in the air with 
the wings he made for himself and his son Icarus, who is falling into 
the Iacarian sea, owing to the melting.in the sun of the wax which 
fastened his wings. | 
(Illustrated ) 


SCHOOL OF PISA 


FourtEENTH CENTURY 


483—ITALIAN PRIMITIVE 
(In Tempera on Panel) 


Height, 6 feet 5 inches 


OnE wing of an altarpiece. Divided into two panels by borders 
painted in imitation of geometrically patterned marble inlay. In 
the upper panel is a figure of God the Father in the character of 
Judge. He is shown as a bearded man, dressed in flowing robes, 
and seated on a throne with canopied top and column supported 
wings. He holds in His right hand a scepter and points to one 
side with the index finger of His left. In the panel below is shown 
the death of a bishop, who, in mitre, and ecclesiastical robes, lies 
stretched on a drapery-festooned bier. At one side an acolyte swings 
a thurifier, his head is supported by a priest in embroidered cope, in 
front of him a woman holds her hand to her face with an expression 
of grief and on the left stands a tonsured priest. Below is painted 
a fringed curtain with embroidered border, 


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FOURTH AFTERNOON’S SALE 


FRIDAY, APRIL 26, 1918 


AT THE AMERICAN ART GALLERIES 
ee 


BEGINNING AT 2.30 O'CLOCK 


487—F irTeeNtH Century Iranran Carvep Woop Mrrror 
Rectangular mirror in molded frame enriched with egg and dart 
and beaded carvings, surmounted by a molded and fluted cornice 
and a cresting of two scrolled cornucopiz. Apron carved with 
two half figures of winged sphinxes and a shaped shield. 


Height, 25 inches; width, 10% inches. 


487A—SEVENTEENTH CENTURY [raLIAN Carvep Woop Mirror 
Circular mirror, the frame carved with two half-length nude 
figures of putti holding a crown and terminating in acanthus- 


leaf scrollings. 


488—SIxTEENTH CENTURY FLORENTINE CARVED AND GILDED Woop 
Mrrror 

Circular mirror surrounded by a border carved with the clasped 
hands of St. Francis of Assisi and a Cherub and set in a Taber- 
nacolo frame with semicircular pediment, flanked and sur- 
mounted by rosettes and honeysuckle ornaments, enclosing a 
female figure holding two shaped shields and supported on two 
cylindrical Doric pilasters. Molded base with carved plinth 
and shaped apron. Partially gilded. 


Height, 26 inches; width,-13 inches. 
(Illustrated) 


489—SIxTEENTH CENTURY ITALIAN CarveED Woop Mirror 
Rectangular mirror in Tabernacolo frame with voluted and 
scrolled pediment, molded and dentelled cornice and plain frieze 
supported on fluted and astragalled pilasters. Molded base and 
shaped apron outlined with voluted scrolls. 


Height, 26 inches; width, 131% imches. 
(Illustrated) 


490—SIXTEENTH CENTURY FLORENTINE Carvep Woop Mirror 

Rectangular mirror in Tabernacolo frame with round-arched 
pediment flanked and surmounted by volutes and honeysuckle 
ornaments, with molded cornice and plain frieze supported by 
two fluted and astragalled pilasters with Ionic capitals. Molded 
base and apron carved with two curved cornucopiz and a shaped 
shield. 

Height, 30 inches; width, 14 mches. 


(Illustrated) 


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491—SrxteentH Century Iranian Carvep Woop Mirror 
Circular mirror with frame carved as a banded wreath of fruits 
and leaves surmounted by an eagle with outstretched wings 
flanked by winged dragons and with an apron carved with 
voluted cornucopix, a Pan’s pipes and scrollings. 


Height, 24 inches; width, 15 imches. 
(Illustrated ) 


492—F IFTEENTH CENTURY FLORENTINE CarvED Woop Mrrror 
FRAME 

Rectangular tablet of marble incised with an oval medallion 
within a rectangular border, within a molded frame of wood 
carved with flutings and beadings, surmounted by a band of 
wood carved with flutings and molded and fluted cornice and a 
voluted pediment, with an oval escutcheon charged with a coat- 
of-arms in the center. Voluted side brackets and shaped apron 
carved with acanthus leaves and a shield charged with a coat-of- 
arms. 


(Illustrated) 


4983—SIxTEENTH CENTURY ITALIAN CARVED Woop Mrrror 


Circular mirror in frame carved as a wreath of flowers, fruits 
and leaves, surmounted by a shaped cresting carved with drag- 
ons and with an apron carved with voluted acanthus-leaf scroll- 
ings and a shaped shield. : 
Height, 24 inches; width, 13 inches. 


(Illustrated) 


494—SEtT oF Six EKIGHTEENTH CENTURY ITALIAN WALNUT ARM- 
CHAIRS OF THE DtrectTory PERIOD 


Square backs, with molded side supports, voluted ears and 
shaped head rail carved with shells, acanthus leaves and diapers. 
Curved and acanthus-leaf carved arms on carved cabriole sup- 
ports. Serpentine seat fronts carved with shells, acanthus leaves 
and diapers; curved legs with voluted feet and curved cross 
stretchers. Seats and backs paneled with woven canework. 


(Illustrated) 


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495—Srtr or Stix Ergurrentu Century Iratian Watnut Cuarrs 
oF THE Directory PERIOD 

Square backs, with incurved tops, reeded and carved side sup- 
ports and horizontal splats enclosing oval panels with reeded 
frames. Circular seats, with molded frames carved with central 
rosettes and broken by quatrefoiled dies which serve as the ter- 
minations of the square curved, reeded and carved legs. Seats 
and backs paneled with woven canework. 


(Illustrated) 


SEVENTEENTH CENTURY ITALIAN WaLNUT CHAIR 

High back, with turned and medallion carved side supports, 
carved ball finials; oval panel with scrolled, voluted and acan- 
thus-leaf carved frame and cresting pierced and carved with 
voluted scrolls and acanthus leaves. Reeded seat front, flanked 
by rosetted dies, and turned and carved bulbous legs with pear- 
shaped feet. Back and seat paneled with woven canework. 


496 


(Illustrated) 


497—Sert or Six EIGHTEENTH CENTURY FRENCH WALNUT ARM- 
CHAIRS OF THE Louis XVI PERIopD 
Oval backs, with molded and acanthus-leaf carved frames; 
curved, molded and voluted arms on curved molded supports. 
Bowed molded seat front, flanked by rosetted dies, and turned 
tapering and fluted legs. Seats and backs paneled with woven 
canework. 


- 


(Illustrated) 


498—Ser or Six EighTrentH Century Watnut Iratian ArmM- 
CHAIRS OF THE Louis XV PrErRiIop 

Rectangular backs, with molded and carved side supports and 
shaped head rails carved with shells, acanthus leaves and dia- 
perings. Straight carved arms on curved supports carved with 
acanthus leaves; serpentine seat fronts carved with shells and 
acanthus leaves, and cabriole legs with shell-carved knees. 
Backs and seats paneled with woven canework. 


(Illustrated) 


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499—E1GHTErntH Century Norru [Iranian WALNUT ARMCHAIR 
Shield-shaped back, with scrolled and shell-carved frame, 
pierced and carved head rail and center vase-shaped splat, 
scrolled and carved. Curved scrolled arms on ecabriole acanthus- 
leaf carved supports; bowed seat front with shaped and carved 
apron, cabriole legs and curved, scrolled and carved stretcher 
and side rails.. Seat and back in woven canework. 


500—E arty E1GHTEENTH CENTURY VENETIAN WALNUT ARMCHATR 
or THE Louis XV PrErrop 

Shield-shaped back, with molded frame and pierced and carved 
cresting. Curved, molded and voluted arms on curved, molded 
supports. Bowed seat front, with pierced and rococo scroll 
carved apron; cabriole legs, with scroll carved knees and voluted 
feet. Seat and back covered with silk damask woven on a 
rose-colored ground in a pattern of scrolls and floral sprays. 


(Illustrated) 


501—Set or Four Late EIGHTEENTH CENTURY ITALIAN ARM- 
CHAIRS OF THE Louris XVI PeEriop 


Spade-shaped backs, with molded frames carved with husk pat- 
ternings. Enclosing shaped medallions with molded frames and 
with carved shells in the spandrels. Bowed seat fronts, carved 
with husk patternings and flanked by rosetted dies. 'Turned 
tapering and fluted legs. Seats covered and backs paneled with 
satin damask. Carving gilded. 


(Illustrated) 


502—Set or Four Late EicureenrH Century Iranian ARM- 
CHAIRS OF THE Louis XVI PErtIop 
Square open backs, with molded frame enclosing circular me- 
dallions, with frames carved and pierced in a pattern of annular 
interlacements. Curving molded arms, straight molded seat 
fronts flanked by rosetted dies and turned tapering and fluted 
legs. Seats covered and backs paneled with satin damask. 


(Illustrated) 


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Ser or Strx Roman Waunut ArRMCHAIRS OF THE Louis XVI 
PERIOD 
\) Square backs, with reeded frames, rounded tops and carved 
4 crestings. Curved reeded and voluted arms on curved reeded 
\- supports. Bowed molded seat fronts, and tapering turned and 
\y" ' / fluted legs with ball feet. Seats and backs covered with green 
satin damask woven in a design of scrolls and flowers. 


503 


(Illustrated) 


/ 504—Pair RoMAN WaLNvuT ARMCHAIRS OF THE Louis XVI PERIop 


We Similar to the above, with the exception of the covering, which 
is in red satin damask. 


505—Ser or Four Late KicHTrentH Century Iratian ARM- 
_ CHAIRS OF THE SHERATON PERIOD 
Square open backs, with frames carved with a bead and reel 
pattern and with vertical slats pierced with geometrical inter- 
lacements. Flat curved arms on curved supports, bead and 
reel carved seat fronts flanked by rosetted dies and square tap- 
ering legs with spade-shaped feet. Seats covered with satin 
damask. 

(Illustrated) 


506—SET or Four EicHTrentH Crntury ITALIAN WALNUT 
Crairs oF THE Louis XVI PrEriop 

Oval backs carved with interlaced strapwork and floral crest- 
ing’; circular seats, the frames carved with interlaced strapwork 
and broken by square rosetted dies. Four tapering turned 
fluted and acanthus-leaf carved legs with pear-shaped feet. 
Seats and backs upholstered with silk brocade in a pattern of 
classical figures and Vitruvian scrollings. 


(Illustrated) 


507—Srr or Four Lare Eienreenta Century Iranian Arm- 
CHAIRS OF THE Louis XVI- PEriop 
Open backs of interlaced ovals, with molded frames and carved 
medallion cresting. Curving voluted arms on curved acanthus- 
leaf carved supports. Bowed molded seat fronts, pierced and 
carved with festoons and flanked by rosetted dies. Turned 
tapering and fluted legs. Seats covered with satin damask. 


(Illustrated) 


0 


507 


Set or Four Lars EigurrenrH Century Iranian ARrm- 
CHAIRS OF THE SHERATON PERIOD 

Open shield-shaped backs, with slats pierced and carved with 
diamond medallions and husk festoons; curving molded arms 
and molded seat fronts carved with festoons and flanked by 
rosetted dies. Square tapering legs, carved with husk pendants, 
and with ball feet. Seats covered with satin damask. Carving 


gilded. 


508 


(Illustrated) 


509—Pair or Late EigHTEENTH CrEntury Iratian Girt ArmM- 
CHAIRS OF THE Late Louis XVI PErtIop 

Spade-shaped backs, with rounded tops and molded frames. 
Curving upholstered arms, with curved molded and voluted 
front supports. Molded bowed seat front and square tapering 
paneled legs with acorn feet. Backs, arms and seats are covy- 
ered with blue silk brocade, woven in a design of pillared 
pavilions and vases of flowers. I'rames completely gilded. 


(Illustrated) 


510—Parr or Latte EKicgotrrentH Crntury Iranian Gint ArRM- 
CHAIRS OF THE Late Louis XVI PrERIop 
Similar to the preceding. 


511—Patir or Late EicguHTrentyo Century Irauian Git Arm- 
CHAIRS OF THE LATE Louis XVI PeEriop 


Similar to Catalogue No. 509. 


512—Srr or Srx Lare Eigurerntru Crenrury Iranian Gint 
CHarrs oF THE Louris XVI PerErtop 
Open shield-shaped backs, with scrolled and double voluted. 


ay ry _frames, molded and carved with sprays of foliage. The vertical 


open splats are pierced and carved in the form of classic vases, 
with handles from which spring three stems of acanthus leaves. 


(Illustrated) 


518—Pair or Late Eigorerntru Century Iranian Grr CHarrs 
OF THE Louis XVI PeErtop 


Similar to the preceding. 


oo) 


No age? gi 
seh 
hee 


x 


ct = 


i: 
a 
é y 
¢ 


ih) 


eae 
rere 


514 


aN ack ate GP amin | 


easement 
—— 


512 


509 


514—Srr or Six EicurrenrH Century Nort Iranian GILT 
ARMCHAIRS OF THE Louis XVI PeErrop 

Shield-shaped backs, with arched frames carved in guilloche 
patterning and floral medallions, curved molded and voluted 
arms on turned tapering and fluted supports, bowed seat fronts 
carved with circular medallions and turned tapering and fluted 
legs. Seats and backs upholstered in silk brocade woven in a 
pattern of Vitruvian scrolls and animals. 


(Illustrated ) 


515—Srr or Srx Late EiguTeentu Century Irarian WALNUT 
ARMCHAIRS 
Shield-shaped backs, with carved and pierced rococo scrolled 
frames and floral and rocaille head rails. Curved voluted and 
molded arms; seat frames carved with scrolls and rocaille orna- 
mentation and cabriole legs. Seats and backs upholstered in 
Hungarian point embroidery in a design of scrolls and flowers 
on a yellow ground. 
(Illustrated) 


516—Set or THREE Late EK1iGHTEENTH CENTURY ITALIAN PAINTED 
AND GILT ARMCHAIRS OF THE Louis XVI PERIop 

Circular backs, with frames carved with laurel-leaf wreaths, 
spreading molded, carved and voluted arms on molded, carved 
and turned supports. Bowed molded and carved seat fronts 
and tapering turned fluted and pointed-leaf carved legs with 
pear-shaped feet. Backs and seats upholstered in blue and 
white silk damask woven in a pattern of classical figures. 
Frame painted white and gilt. 


(Illustrated) 


517—Parm or Late Eicgutreenty Century [rattan Gitt CHarrs 
OF THE Louis XVI Prriop 


Rectangular back with rounded top and melon-shaped finials, 
with molded and carved frame, carved acanthus-leaf enriched 
arms on carved supports carved with acanthus leaves. Bowed 
molded and carved seat fronts with rosetted centers flanked by 
square dies and with square tapering molded and carved legs 
with ball feet. Seats and backs covered with blue and white 
silk damask woven in a design of classical figures. Frames 
entirely gilt. 
(Illustrated) 


515 


PITA RS fs ee ey 


RRS SP Fir0' ve 


| 


& 
4 
4 
& 
8 
Me 
8 
& 
e 
i 
? 


517 


516 


518—Pair oF SEVENTEENTH CENTURY VENETIAN WALNUT CHAIRS 


Rectangular backs, with square side supports. Scrolled, vo- 
luted and acanthus-leaf carved legs, with pierced, carved, 
scrolled and voluted front rails and square side and back rails. 
Seats and backs covered with Hungarian point embroidered in 
designs of acanthus-leaf scrollings and vases and finished with 
deep silken fringe. 


519—Parmr or EIGHTEENTH CENTURY ITALIAN PAINTED CHAIRS 


Shield-shaped molded and carved backs, scrolled serpentine 
seat fronts and cabriole legs. Seats and backs covered with silk 
brocade woven in a rose-colored and white striped and floral 


, oe pattern. Frames painted white. 
J 


cq 6 | 


has yw~ 


wl 


has 


WY 520—Pair or SIXTEENTH CENTURY FLORENTINE WaALNutT ARM- 
CHAIRS 


Rectangular backs, with gilt acanthus-leaf carved finials. Curv- 
ing flat voluted arms on curved acanthus-leaf carved supports. 
Straight square legs on square base rails, with paw terminations 
and deep front rail carved with a rosette and voluted scrolls. 
Seats and backs covered with cut velvet in a diapered design 
secured with oval brass-headed nails and finished with a silken 
fringe. Carving gilded. 


521—Pair oF EIGHTEENTH Century ITALIAN Gi_t CHAIRS OF THE 
Louis XV PeEriop 
ta Bi Straight upholstered backs, with shaped tops, square seats and 
| 6] (ar cabriole legs carved at the knees with scrolled escutcheons and 
with paw feet. Frames gilt. Backs and seats covered with silk 
brocade woven in a pattern of floral sprays on a white ground. 


\\ 


522—SIxTEENTH CENTURY FLORENTINE WALNUT ARMCHAIR 
Rectangular back with acanthus-leaf carved finials. Flat 


0. , molded arms on turned baluster-shaped supports, straight 


VN square and turned legs on square base with paw terminations 
and deep front rail carved with voluted scrollings and a central 
egeg-shaped escutcheon. Back and seat covered with contem- 
porary tapestry, the back woven in a design of a large goat’s- 
head trophy with crossed swords. 


%: 


523—SIxTEENTH CENTURY FLORENTINE WALNUT ARMCHAIR 
Similar to the preceding. © 


\ 524—SIXTEENTH CENTURY FLORENTINE WALNUT ARMCHAIR 
Similar to the preceding. 


ae 


525—Patr or SIXTEENTH CENTURY FLORENTIE WALNUT CHAIRS 


ti 


Ls 


Rectangular upholstered backs and seats; turned baluster- 
shaped legs, with turned front rails, side rails and stretchers. 
Seats and backs upholstered in sixteenth century varicolored 
woven stuff finished with silken fringe. 


526—EIGHTEENTH CENTURY ITALIAN WALNUT ARMCHAIR 


_Shield-shaped back, with molded and scrolled side supports and 
head rail carved with a circular portrait medallion, curved and 

. molded arms on carved supports, bowed scrolled and medal- 
lioned seat front and cabriole legs. Seat and back upholstered 
in silk brocade woven in a design of floral sprays. 


i f 


ay 
\LA 
NY 


<— 


527—S1xTEENTH CENTURY FLORENTINE WALNUT ARMCHAIR 


High rectangular back with finial carved as female mask, 
flat voluted arms on turned baluster-shaped supports, straight 
square and turned legs on square base rails with paw termina- 


Pike tions and deep front rail, carved with acanthus-leaf scrolls 


and cherubim and with scrolled and voluted apron. Back and 
seat covered with contemporary tapestry, the back woven in 
design of a soldier in sixteenth-century costume and carrying a 


musket. 
(Illustrated) 


528—SIxTEENTH CENTURY FLORENTINE WALNUT ARMCHAIR 
High rectangular back, with finial carved as female mask, flat 
voluted arms on turned balustér-shaped supports, straight 
square and turned legs on square base rails with paw termina- 
tions and deep front rails carved with acanthus-leaf scrolls 
and cherubim and with scrolled and voluted apron. Back and 
seat covered with contemporary tapestry, the back woven in 
design of a huntsman, in sixteenth-century costume and carry- 
ing a musket. 
(Illustrated) 


529—Parr oF SIXTEENTH CENTURY FLORENTINE WALNUT ARM- 
CHAIRS . 

Rectangular backs, with gilt carved finials, straight flat molded 
arms on square supports carved with acanthus leaves. Square 
legs and base rails with paw terminations. Backs and seats, the 
latter with deep aprons, covered with cloth-of-gold silk having 
a pattern of acanthus-leaf scrolls, tulips and flowers in silk ap- 
pliqué bordered with gold. Carving gilt. 


(Illustrated ) 


5380—Pair oF SIXTEENTH CENTURY FLORENTINE WALNUT ARM- 


CHAIRS 


"/ Rectangular backs, with gilt carved finials; straight flat molded 
arms on square supports carved with acanthus leaves. Square 
legs and base rails with paw terminations. Backs and seats, 
the latter with deep aprons, covered with cloth-of-gold having a 
pattern of acanthus-leaf scrolls, tulips and flowers in silk ap- 
pliqué embroidery bordered with gold. Carving gilt. 


529 


527 


2 
F 


5381—SEVENTEENTH CENTURY VENETIAN WALNUT ARMCHAIR 


Straight back with turned side supports, with center panel sur- 
\\ rounded by scrolls and shells and with cresting carved to cor- 
respond. Boldly scrolled and voluted arms on scrolled sup- 
ports. Scrolled and voluted legs with deep front rail, also 
carved with a shell and voluted scrolls. Seats covered and back 
paneled with Hungarian point embroidered in a design of a vase 
on a pedestal and acanthus-leaf scrollings and finished with 
knotted fringe. 


582—Par or Eiguteentu Century Iranian WALNUT ARMCHAIRS 
Shield-shaped backs, the head rails carved with rose blossoms. 
Curved and voluted arms on carved supports. Carved serpen- 


tine seat fronts and cabriole legs. Seats and backs covered in 
silk brocade with rose-colored ground. 


(o/ 
sis 


ARMCHAIR 

Ae Straight back, with arched top, carved and molded frame and 
“\ scrolled cresting, carved with festoons of flowers, acanthus 
leaves and pointed leaf and berry pendants. Scrolled and 
voluted arms carved with acanthus leaves on voluted scroll sup- 
ports, scrolled and voluted legs carved with acanthus leaves and 
scrolled acanthus-leaf carved cross stretchers carved with shells 
at their intersections. Back and seat covered with silk brocade 
woven in a pattern of scrolls, leaves and flowers and finished 

with silken fringe. Frame entirely gilded. 


SEVENTEENTH CENTURY RoMmMAN CARVED AND GILT Woop 


\ 


534—EI1GHTEENTH CENTURY ITALIAN WaALNutT ARMCHAIR 


Open back, with arched, molded and beaded head-rail and vase- 
ay shaped central splat carved with imbrications and an oval leaf- 
| carved medallion. Curved and voluted arms on fluted tapering 
columnar top, incurved beaded seat front and fluted tapering 
legs. Seat covered with red and white silk brocade. 


535—Patr or Earty EIGHTEENTH CENTURY VENETIAN GILT 


CHArrRs oF THE Louis XIV Perrtop 


Shaped backs, with scrolled, voluted and acanthus-leaf carved 
frames. Cabriole legs, floridly carved with acanthus-leaf scrolls, 
and grotesque masks and with voluted feet. Scrolled and acan- 
thus-leaf carved cross stretchers, with pineapple finials. Backs 
paneled and seats covered with red velvet, the latter finished 
with silk galloon and fringe. Frames entirely gilt. 


5386—Set or Four EIGguHTreentH CrEntury ITALIAN WALNUT 


CHAIRS 


Shield-shaped backs, with molded side supports and head rails. 
Serpentine carved seat fronts and carved cabriole legs. Seats 
and backs covered in red silk brocade with stripes of white and 
green. 


ay 


\ 587—SEVENTEENTH CENTURY VENETIAN CarvVED AND GiLr Woop 
ARMCHAIR 

Straight upholstered back, with shaped cresting pierced and 
carved in a design of a shield charged with a coat-of-arms, sur- 
mounted by a coronet and flanked by voluted scrollings and 
floral pendants. Rococo scrolled and acanthus-leaf carved arms 
on molded supports carved with masks, scrolled legs on voluted 
feet and scrolled and acanthus-leaf carved cross stretchers with 
pointed finial. Back and seat covered with crimson velvet em- 
broidered with silver thread in a design of a shield, charged with 
a coat-of-arms, surrounded by scrollings, flowers and leaves, and 
finished with silk fringe. Frame entirely gilded. 


5388—EIGHTEENTH CrntTURY IraLIAN Watnut ARMCHAIR 
Shield-shaped molded and carved back, curved molded and 


rv voluted arms on molded and carved supports, scrolled and 
carved bowed seat front and cabriole legs. Seat and back 
covered with silk brocade woven in a pattern of floral sprays on 
a rose-colored ground. 


\ '  §89—SrvENTEENTH CENTURY VENETIAN WALNUT ARMCHAIR 
Straight back, with shaped top. Curving, molded, voluted and 
carved arms on bulbous acanthus-leaf carved supports. ‘Turned 
legs, with acanthus-leaf carved domed feet and deep front rail 
pierced and carved with acanthus-leaf scrollings. Back and seat 
covered in yellow and red brocatelle woven in a design of acan- 
thus-leaf scrolls and flowers and finished with silken fringe. 


540—SrtT or Six EIGHTEENTH CENTURY ITALIAN WALNUT ARM- 

s CHAIRS 
Vv / Shield-shaped backs, with molded side supports and head rails 
YQ / carved with volutes and acanthus leaves. Curved, molded and 
voluted arms, carved with acanthus leaves, on curved supports. 
Carved and scrolled bowed seat fronts and cabriole legs carved 
with acanthus leaves at the knees. Seats and backs covered in 
red silk brocade with white and green stripe. 


om Anh 


“4 


541—SEVENTEENTH CENTURY VENETIAN WALNUT ARMCHAIR 

«) ' Straight back, with shaped top. Curving, molded, voluted and 
carved arms on acanthus-leaf carved supports. Scrolled and 
acanthus-leaf carved legs on voluted feet, with deep pierced 
front rail pierced and carved with linked acanthus and pointed- 
leaf scrollings. Square back rail. Seat and back covered with 
yellow and red brocatelle woven in a design of acanthus scrolls 
and flowers and finished with silken fringe. 


{/ 542—Srer or Four EIGHTEENTH CENTURY ITALIAN WALNUT 
/ Kp we CHAIRS 
) Shield-shaped backs, with molded and carved side supports and 
\ head rails, bowed and carved seat fronts and molded and carved 
cabriole legs. Seats and backs covered with silk brocade woven 
in a design of floral sprays on rose-colored grounds. 


ke 
BUA as 


543—EIGHTEENTH CentURY CARVED AND Parn'TED VENETIAN CHAIR 

Straight open back, with square reeded side supports, molded 

\\ head rail carved with crossed palm branches, and oval medallion 

| with sunken molded panel painted with wreath. At the angles 

are carved rosettes. Serpentine seat front, carved with a central 

acanthus-leaf scroll, and turned tapering and fluted legs. Seat 
covered with red silk brocade. 


544—SEVENTEENTH CENTURY VENETIAN WALNUT CHAIR 
Straight square back and seat. Scrolled and acanthus-leaf 
carved legs with pierced and carved scrolled and voluted front 
rail and square side rails. Seat and back covered in Hungarian 
point finished with silk fringe. 


545—SIXTEENTH CENTURY FLORENTINE ARMCHAIR 
Straight back, with carved and gilt finials. Straight molded 


AW, arms on turned baluster supports, turned legs and square base 

n> rails with paw terminations. Seat and back covered with red 
NN : : 

y * and yellow brocatelle secured with brass-headed nails and fin- 


ished with silk fringe. 


hi 


546—Pair oF SIXTEENTH CENTURY FLORENTINE WALNUT ARM- 

CHAIRS | 

Straight backs, with carved and gilt acanthus-leaf finials, curved 

flat voluted arms on turned supports, and square legs, with deep 

front rails carved with voluted scrolls and gilded. Seats and 

backs in contemporary leather secured with brass-headed nails 

and finished with silken frmge. 'The back tooled in gold with 
scrolled armorial shield. 


547—SIXTEENTH CENTURY FLORENTINE WALNUT ARMCHAIR 
Straight square back with carved and gilt finials, flat curved 
arms on curved acanthus-leaf carved supports, and straight 
square legs, with front rail carved with volute and a rosette, and 
gilt square base rails with paw terminations. Seat and back 
covered with brown velvet cut, on a yellow ground, in a diapered 
pattern of scrollings and finished with silk fringe. 


[ye 548—Patr OF FIFTEENTH CENTURY FLORENTINE WALNUT CHAIRS 
j 


gJ Straight backs, with shaped tops, square curved cross legs with 
a) % voluted feet pivoted as though to fold and with turned rails. 
3s r Seats and backs covered in red and yellow brocatelle. 


549—SIXTEENTH CENTURY FLORENTINE WALNUT ARMCHAIR 
Straight back, with carved and gilt finials, straight molded arms 
: Av on turned baluster supports, turned legs and square base rails 
y with paw terminations. Seat and back covered with red and 
h A yellow brocatelle woven in a design of crowns, scrolled leaves 


_yz and flowers and finished with silken fringe. 


yo 550—SIxTEENTH CrntTURY FLorRENTINE WaLNuT ARMCHAIR 


et 


? 


we Straight square back, with gilded finials carved as masks hold- 
wis ' - ing rings, straight molded arms on turned baluster supports, 
g a straight square legs with deep front rail carved with voluted 
ly scrolls and escutcheon and gilded. Square base rails, with 


voluted terminations. Seat and back covered with Hungarian 
point secured with brass-headed nails. 


551—Pair oF SEVENTEENTH CENTURY FLORENTINE WALNUT ARM- 
CHAIRS 
Straight backs, with shaped top. Curved, molded and voluted 
arms on square baluster-shaped supports. Square tapering 
carved legs and molded and voluted arched cross stretchers. 
Seats and backs covered with crimson silk damask finished with 
silk fringe. 


552—Patir oF SEVENTEENTH CENTURY FLORENTINE WALNUT ARM- 

oe CHAIRS 

ee | 
Similar to the preceding. 


553—Pair oF SEVENTEENTH CENTURY FLORENTINE WALNUT ARM- 
CHAIRS 


7 ‘ve Similar to the preceding. 
\ } Ve = 


554—SIXTEENTH CENTURY FLORENTINE WALNUT ARMCHAIR - 
Rectangular straight back, with gilded acanthus-leaf carved 
finials, flat molded arms on square Supports with acanthus-leaf 
carved brackets, straight square légs and base rails terminating 
in paws, and deep front rail carved with voluted scrolls and a 
central oval escutcheon. Back and seat covered with contempo- 
rary tapestry. 


555—Pair oF Late EigHtTeentH Crentury ITALIAN GILT CHAIRS 


oF THE Louris XVI PERrIop 


Rectangular back with rounded top and melon-shaped finials, 
with molded and carved frame, carved acanthus-leaf enriched 
arms on carved supports carved with acanthus leaves. Bowed 
molded and carved seat fronts with rosetted centers flanked 
by square dies and with square tapering molded and carved 
legs with ball feet. Seats and backs covered with silk damask 
woven in a design of classical figures. 


: iva) aVa\ 
RAR AL 


Boon CHAIRS OF THE EafPrre PERIoD 
Square open backs, curvingto meet the seats, with square side 
fu Aupports paneled with gilt bronze moldings and with rosettes 

uF y /, and round head rails carved below with winged medallions. The 
Url K legs, mounted at the’seat levels with gilt bronze lions’ masks, 
ee are tapering, square, paneled with gilt moldings and with feet of 

gilt bronze birds’ legs and claws. The sides are decorated with 
gilt six- pointed stars. ‘The open panels at top are laced with 
gilt bronze cords, the fronts of the seats are finished with deep 

knotted fringes and the seats and -backs are covered with silk. 


These chairs, possibly made in Rome, came to Signor Bardini 
dir wes om the apartment of Princess Pauline Borghese. 


557— EIGHTEENTH CENTURY GILT VENETIAN STOOL ) 
Rectangular shape, with cabriole legs. Completely gilded. Cov- 
ered with silk brocade. 


\/ 


\ 


\\558—Parr oF EIGHTEENTH CENTURY/ Girt Roman STOOLS 
Rectangular shape with shaped’ aprons carved with shells, four 
cabriole and voluted legs caved with floral pendants, voluted 
cross stretchers and caryéd pineapple finials. Tops covered 


ie \ with old crimson velvet appliqué in a scroll design with gold 
D. 3 galloon. | Height, 22 inches. 
559—PaIirR OF KicutTEgNTu Century GiI_tt Roman STOOLS 
¥ \ \ Companion toAhe preceding. 
as 560—4P AIR OF SIXTEENTH CENTURY FLORENTINE CARVED AND GILT 


4 


ee Woop SToOoLs 7 . 
Boe Or sgabello type. Rectangular molded seats, with shaped front 
} WA } \y supports carved with voltted - scrolls, acanthus leaves and 
as ey : grotesque masks. Back ‘supports shaped and incised with vo- 
AMES scrollings. Painted cream color and brown, and gilded. 


qo Ms Height, 22 inches. 


561—Pair SrxTEENTH CENTURY GILT Tuscan WatnuTt WALL 
PEDESTALS 
\ Vp See a Console form, with square molded shelf and square bracket 
Tay ON carved with scrolled escutcheon and winged masks. Supported 
by a caryatid figure of a child having a double fishtail termina- 
tion carved with acanthus leaves. On square molded base. 


562—Parr SIxTrENTH CENTURY Gitt Tuscan Watnut Wat 
vy, J A ~ PEDESTALS 

nay 1) “Console form, with aware, and molded shelf and bracket sup- 
Pip a pe ported by large volute masked by a carved acanthus-leaf scroll- 
. 2 ing and with a tapering fluted termination carved with husked 
patterning. On square molded base. — Areight, 4 feet 11 inches. 


5683—EIGHTEENTH CENTURY CARVED AND GILT Woop PEpbESTAL 
Circular fluted top, with paneled and carved apron. On tripod 
scrolled and voluted stand with carved festoons of fruits and 
leaves. On triangular marbled base. Height, 8 feet 7 inches. 


564—Parr OF SEVENTEENTH cle Iranian ParntTED PEDESTALS 

Triangular tapering shape with molded capitals and bases on 

. ), ball feet. Painted on a by6wn ground in colors with an arabesque 

Wy | design of scrolls and/intersections. Portion of one capital 
missing. 


565—Pair or Late EigntrrenraH Century Roman Gitt ConsoLe 
\ TasBLes oF THE Louris XVI PERIOD 
\ yr Semicircular tops, with friezes carved with acanthus rinceaux 
5 ee separated by square dies having oval medallions. On four 
ie \ turned, tapering, fluted and carved legs with acorn feet. The 
tops are of African marble shaped and with mounts of gilded 
bronze. 


Height, 2 feet 81 inches; width, 3 feet 6 inches; depth, 1 foot 
814 inches. 


These and the following table came from the Borghese Palace, Rome. 


566—Late EIGHTEENTH CENTURY RomAN Git CoNnsOLE TABLE 
OF THE Louis XVI Perriop 


if ) va Semicircular top with frieze carved with acanthus rinceaux 
\' : separated by square dies having oval medallions. On four 
turned tapering, fluted and carved legs with acorn feet. The 


top is of African marble shaped and mounted with gilded 
bronze. 


od 


Height, 2 feet 844 inches; width, 3 feet 6 inches; depth, 1 foot 
814 inches. 


ae 


567—KIGHTEENTH CENTURY RomMAN CARVED AND GILT Woop 


ny TABLE 

at. Vy Circular top of black slate painted with a view of the waterfalls 

WW at Tivoli. Apron carved with oval floral medallions and acan- 
thus leaves. On four turned tapering legs carved with lotus and 
acanthus leaves. Carving gilded. 


Height, 2 feet 6 inches; diameter, 2 feet 9 inches. 


568—Pair or SEVENTEENTH Century ItaLiAn Git TorcHERES 

Shaped as partially draped female figures symbolizing Ceres 

A and Flora, Ceres holding in her hand a sheaf of wheat, Flora 

.. a bunch of flowers. The figures support circular brackets en- 

circled by wreaths of fruits, flowers and leaves. On rectangular 

: pedestals, paneled with masks and with voluted consoles at the 
angles. Completely gilded. 


a 


Height, 66 inches. 


ee Oe 


SS Ore ee AS —— Seaata Wa CTA pre Se 


i 
-~ ‘OW 
ees . 


569—Ear.Ly EIGHTEENTH CENTURY ITALIAN GILT CONSOLE TABLE 
oF Louris XV PERIop 


/ Shaped marble top, with molded and carved edge and shaped 
ID apron pierced and carved in a design of rococo scrollings, vo- 
MK \ lutes and flowers on four scrolled and voluted cabriole legs 
carved with acanthus-leaf scrolls and flowers. Rococo scrolled 
cross stretcher, with pierced and carved finial. The top is of 

African marble shaped and mounted with gilded bronze. 


Height, 34 inches; width, 6 feet 4 inches; depth, 24 inches. 


This and the two following tables came from the Borghese Palace, 
Rome. 


pai Eis EIGHTEENTH CENTURY ITALIAN GILT CONSOLE TABLE 
or Louris XV PrErtop 


\ ‘\ ~ Similar to the preceding. 


f ‘i rn »} ; 
; by ' ¥ Height, 34 inches; width, 6 feet 4 inches; depth, 24 inches. 


571—E arty EIGHTEENTH CENTURY ITALIAN GILT CONSOLE TABLE 
oF Louis XV Perriop 


Similar to No. 569. 
Height, 34 inches; width, 6 feet 4 inches; depth, 24 inches. 


572—ITALIAN GILT SETTEE OF THE LATE Louis XVI PERIOD 


Shaped back, with molded frame carved with twisted ribbon and 

4 aes <a beaded patterning and with a central-mask and acanthus-leaf 
scrolling. The back is curved to form arms for the end seats 
and terminates with leopards’ heads and fluted, acanthus-leaf 
carved pilasters. ‘The molded apron is carved, to match the 
frame, with a central rosette and acanthus-leaf scrolls. On six 
tapering fluted and acanthus-leaf carved legs. Seat, back and 
arms upholstered in silk brocade woven in a pattern of stripes 
and floral spray. 


573—SIXTEENTH CENTURY FLORENTINE GILT Watnut LECTERN 

Formed of two straight cross supports with voluted ends, the 

fronts and sides carved in a pattern of overlapping pater and 

x pivoted at their intersections with large carved rosettes. Carved 

and scrolled cresting and apron and turned cross rails. Carving 
heightened with gilding. 


574-—SIXTEENTH CENTURY FLORENTINE WALNUT LECTERN 


Formed of two straight cross supports with paw feet and vo- 
luted ends the sides carved with overlapping patere and 
pivoted at their intersections with carved rosettes. Carved and 
voluted cresting and apron and turned cross rails. Original 
leather book-rest. . 


575—KIGHTEENTH CENTURY VENETIAN PAINTED AND GILT SETTEE 


Upholstered back with scrolled and voluted frame carved with 
flowers and acanthus leaf scrollings, molded and voluted arms 
on curved supports, scrolled and voluted serpentine seat front 
and cabriole legs. Seat and back covered with striped bro- 
cade. Frame painted light green and gilded. 


576—EIGHTEENTH CENTURY VENETIAN PAINTED AND GILT SETTEE 


Qo 


} 


/ Rectangular shaped back with carved top and frame carved 


with shells and sprays of leaves and berries, scrolled and 
voluted arms and shaped apron pierced and carved with shells 
and floral sprays. On cabriole legs carved at the knees. Seat 
and back covered with silk brocade woven in a floral pattern 


, ona blue ground. Frame painted blue and gilt. 


6 | 0 Length, 6 feet 2 inches. 
nA 9° 
xo) te 


577—PatIR OF SEVENTEENTH CENTURY FLORENTINE WALNUT 


STOOLS 


/ Rectangular shape, with molded aprons. Scrolled and voluted 


legs, white cross stretchers and turned finials. Decorated with 


incised and gilded lines. Tops covered with contemporary 
leather. 


Height, 19 inches. 


579—Patr oF EIGHTEENTH CENTURY FLORENTINE WALNUT 


STOOLS 
| “ee Oval tops, with four scrolled and voluted legs and cross stretch- 
0: ers with turned finials. Seats covered with red silk damask 


beet~ finished with red silk fringe. Carving heightened with gilding. 
S § heig BEES 


ee Height, 21 inches. 


580—F IrrEENTH CENTURY FLORENTINE WaLNuT Hat Rack 
PD) Rectangular shape. Molded and carved cornice and plain frieze. 
Y ir aoe Body divided by carved brackets into six panels in each of which 
is a turned wooden hat-peg. Below is a scrolled and carved 


apron. 
Height, 1 foot 1 inch; length, 4 feet 8 inches. 


y 581—FIrrEENTH CENTURY FLORENTINE_LW aALNUT Hat Rack 


[~ se Rectangular shape. Molded a 
; ad W o? vided by molded modillions. /The body is divided into three oval 
a $a panels, each with two turhed hat-pegs, and below is a scrolled 


and voluted apron cay¥ed with a mask in the center. 


uted cornice with frieze di- 


Height, 12 inches; length, 4 feet. 


' f\ 


A turned baluster-shaped legs, squar 


582—SrxTEENTH CENTURY UMBRIAN WALNUT Work TABLE 


<° / Rectangular sunk paneled top, with molded edge, paneled frieze 
fitted with drawer, on two urn-shaped side supports with 
spreading shaped feet. Shaped longitudinal stretcher secured 
with keyed tenon. 


Height, 2 feet 2 inches; length, 2 feet 1 inch; width, 1 foot 6 inches. 
(Illustrated) . 


58383—SIXTEENTH CENTURY FLORENTINE Watyeér Work TABLE 
Rectangular top, with molded edge and ffieze carved with acan- 
_ thus-leaf scrollings and fitted as a dfawer supported on four 
fails and cushion feet. 


Height, 2 feet 2 inches/length, 2 feet; width, 1 foot 6 inches. 
(Illustrated) ’ : 


584—SIXTEENTH CENTURY FLORENTINE WALNUT CHAIR 
Straight back with square side supports and voluted finials, 
shaped head rail carved with scrolled escutcheon-shaped hori- 
zontal splat with turned spindle, molded wooden seat, straight 
legs, deep pierced and carved front rail and square back and 
side rails. 


(Illustrated ) 


585—SIXTEENTH CENTURY FLORENTINE WALNUT CHAIR 

AU / Straight back with square side supports, carved acanthus-leaf 
finials, shaped and carved head rail, carved horizontal splat with 
turned spindles, wooden seat, turned baluster-shaped legs and 
square front, back and side rails. 


(Illustrated) 


586-—Pair oF SIXTEENTH CENTURY FLORENTINE WaLNUT CHAIRS 

| » Straight backs with square side supports, carved acanthus-leaf 

y; . finials, shaped and carved head rails and carved horizontal splats 

“with turned spindles. Molded wooden seats, straight square 
legs and shaped side, front and back rails. 


(Illustrated) 


98¢ ‘ai 


Ge PPOIN y LELELE EE 


OME LO ME EE te he 


~~ WO 


SAO teint Spy seman sr 


587—Pair or FirreentH Centyfy Umsrian WALNuT CHairrs 
Sgabello type. Triangukir hollowed backs with molded side 
and center ribs and sh4ped, fluted and voluted head rails, oc- 
tagonal seats and fofir spreading square legs with deep shaped 
aprons. 


588—Set oF Five FirreentsH Century Umprian Watnur CHaIrrs 

Sgabello type. Triangular hollowed backs with molded side 

i} 0) and center ribs and head rail carved with scrolls and flutings, 

\ BJ semi-octagonal molded seats, tapering box pedestals and shaped 
front and back supports. 


589—F irrEENTH CENTURY UmBriIAN WALNUT CHAIR 

Sgabello type. Triangular hollowed back with molded side 
, and center ribs and shaped voluted head rails. Shaped seat, 

nN Me tapering box pedestal and shaped side and front supports and 

. turned rails. 7 


C) 


590—Parr or Firreento Century UmMpBpriANn WaALNut CHAIRS 
Sgabello type. Triangular backs with molded center and side 
C : ol ~—ribs, carved head rails, molded hexagonal seats and shaped front - 
~*~ and back supports. 


591—Pair or FirreentH Century UmsBriAn Watnut CHarrs 

fs Sgabello type. ‘Triangular hollowed backs with molded side 

\ 9 and center ribs and voluted head rails. Hexagonal seats and 
four spreading square legs with shaped_aprons. 


592—Pair oF FIrreEENTH CENTURY UmBRIAN WALNUT CHAIRS 

va Sgabello type. Triangular hollowed backs with molded side 

| ¢ V , and center ribs and fluted and voluted head rails. Hexagonal 
ay 5 rele and four spreading square legs with shaped aprons. 

” lng 

598—Two Firrrentrn Century Umsrran Watnut Cuarrs 


Sgabello type. Shaped backs carved, in low relief, with voluted 
scrolls and escutcheons. Octagonal seats, tapering paneled box 
[ pedestals, shaped front supports with a rosette in low relief and " 
Wi, shaped back supports. 4 


587 


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al 


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ety 
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ALNUT Rounp TABLE 


SIXTEENTH CENTURY F'LORENTINE 
Circular top with molded rim, suppérted by four voluted brack- 
ets springing from the angles of rectangular pedestal paneled 
and carved with beadings and bands of guilloche patterning. 
On square molded base, enri¢hed with acanthus-leaf carving and 
four paw feet. 
Height 2 feet 8 inches; diameter, 3 feet 4 mches. 


(Illustrated) 


Pa 595—SIXTEENTH CENTURY TUSCAN WALNUT OcTAGONAL TABLE 


pported on four voluted and 
from the angles of a square 
re molded base and four large 


Octagonal top with molded rim, 
leaf-carved brackets springin 
paneled pedestal. On sq 
curved paw feet. 


Heigh 
Illustrated) 


2 feet 9 inches; diameter, 3 feet 4 inches. 


Soe ) 596—SIXTEENTH CENTURY UmBriAnN, WALNUT TABLE 


Octagonal top with edge caryed in flutings, turned baluster- 
shaped stem, square pedestaY with molded base and four turned 
cushion-shaped feet. 


Height, 30 inches; diameter, 28 inches. 
(Illustrated) 


A\ 
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ie 


595 


597—SIXTEENTH CENTURY TUSCAN WALNUT CABINET 


ro 


Rectangular shape. Molded top, with frieze fitted with a 
drawer, its front carved with overlapping pater and flanked 
by twin carved consoles. The lower part is arranged as a cup- 
board, with two hinged doors with wooden knobs and sunken 
panels carved with medallions, surrounded by carved borders 
of overlapping patere and flanked by twin female caryatids 
with carved tapering terminations. At the angles are turned, 
fluted, tapering columns carved with imbrications. The plinth 
is fitted with a drawer having a bronze looped handle, and 
front carved with medallions. Molded base and voluted bracket 
feet. 

Height, 3 feet 4 inches; width, 3 feet; depth, 1 foot 4 inches. 


(Illustrated) 


598—SIXTEENTH CENTURY TUSCAN WaALNUtT TABLE 


a) / 
| 


< 
f 


< 


‘a 
// 


Rectangular molded top, the apron carved with overlapping 
floral rosettes fitted with drawer, flanked by rosetted dies, and 
supported by voluted brackets. On four turned tapering 
columnar legs, carved with flutings and with fluted pear-shaped 
feet, 


Height, 35 inches; width, 3 feet 3 inches; width, 33 inches. 


(Illustrated) 


597 


598 


\ \ ff 


Z\. 
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f ey \N 


i / Rectangular shape. Molded and fluted cornice supported by 
W / carved modillions, the frieze fitted with two drawers having 
paneled and carved fronts and swinging looped handles with cir- 
i» cular molded plates of bronze. The body arranged as a cup- 
‘Y | board, with two paneled hinged doors with turned and carved 
U wooden knobs, flanked by scrolled and voluted pilasters with 
tapering terminations carved with overlapping pater, and by 
two Doric columns at the angles. Paneled sides and molded 

base, with bowed plinth. 


Height, 2 feet 10 inches; width, 3 feet 8 inches; depth, 1 foot 71% inches. 
é 
(Illustrated ) 


600—F'IrreeNTH CrentruRY FLoRENTINE Watnut PLATE Rack 

" Rectangular shape. Formed of three horizontal shelves, with 
a, molded and beaded edges supported at either side by curved 
f brackets with shaped legs, the front edges carved with a pattern 
\ of overlapping patere, 


Height, 2 feet 4 inches; width, 8 feet 4 inches. 


(Illustrated) 


601— EIGHTEENTH CENTURY ITALIAN Carvep WaAtLNuT TABLE 
Rectangular shape, with marble top. Apron carved with rib- 


v) bon-bound bands of oak leaves and tapering, turned, carved 
vi and fluted legs. ; 
{ 
“Y Height, 2 feet 9 inches; length, 8 feet 9 inches; width, 2 feet 


6 inches. 


Rn einer ene eT OST ee La Ld ide idk elie 


eta ee ke koe ko | 


A 


OG TT TTT ete 
MASUSEOG ICEL LEIE ILE MELHOR ELE LEI LE} 
a> 


600 
599 


ee ee Joey ing eeey Tver sey ey Tery ratte 


BANE BLES EEO ELE Lees 


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CCE 


" BY 
602—SrxTrrentuH Century Nortru Iranian WALNUT CABINET 


Rectangular shape with molded cornice and plain bowed frieze. 
The front is divided by four projecting pilasters formed as 
draped female caryatid figures terminating in tapering terms 
carved with imbrications into three bays surmounted by pointed 
molded pediments separated and flanked by consoles carved 
with masks and draperies. The upper portion is fitted as two 
rows of drawers, while. below they are each fitted with two 
drawers with sunken paneled fronts and horizontal bands of 
carved guilloche patterning, while the center bay is arranged 
as a cupboard with hinged door, the front carved with a colon- 
naded hall seen in perspective with tiled floor and domed roof, 
two knights on horseback tilting with spears in the foreground. 
and a vase with tree in the background. ‘The front is flanked 
by two voluted grotesque mask caryatids with tapering termi- 
nations and vase-shaped bases. Molded base, plain plinth and 
sides with sunken panels and wrought-iron swinging looped 
carrying handles. 


Height, 23 inches; width, 30 inches; depth, 17 inches. 


603—SEVENTEENTH CENTURY:FELORENTINE PAINTED AND GILDED 


CABINET BY TACCA 


Rectangular shape, with molded Oriental marble top supported 
by wooden molding and, at the angles, by four gilded male 
caryatids holding voluted scrolls and with tapering carved 
scrolled and voluted terminations. The body arranged as a 
cupboard with two hinged doors painted in gold with a repeat 
pattern of acanthus-leaf scrollings linked by crowns and en- 
closing flowers and fleurs-de-lis. On molded base, with carved 
and gilded feet of voluted scrollings. By Pietro Tacca 
(1577-1640). 


Height, 3 feet 9 inches : length, 5 feet 2 inches; depth, 2 feet 8 inches. 


Pietro Tacca, a pupil of Giovanni da Bologna, Florentine sculptor 
of repute, chiefly knoyn as the designer and modeler of the bronze 
fountain in the square’ of S.S. Annunziata, Florence, and of the famous 
monument to Cosimo/de’ Medici in Leghorn. 


—— 


603 


604—SEVENTEENTH CENTURY VENETIAN WALNUT TABLE By Bros- 
TOLONE 
Rectangular top with molded edge. Apron carved with vo- 
luted scrollings, acanthus leaves and central pointed-leaf pen- 
dants, legs pierced and carved with voluted scrolls, husk pen- 
dants and acanthus-leaf scrolls,° acanthus-leaf carved and 
scrolled side, front and back rails with central pointed-leaf fin- 
ials corresponding with the pendants above and lions’ paw feet. 


Height, 2 feet 114% imches; length, 4 feet 10 inches; width, 2 feet 
314 inches. ; 


Brostolone was the most noteworthy Venetian carver of his genera- 
tion, though his efforts were chiefly confined to picture frames. 


(Illustrated) 


605—SEVENTEENTH CENTURY VENETIAN TABLE BY BROSTOLONE 
Rectangular top with molded edge. Apron carved with voluted 


0 scrollings, acanthus leaves and central pointed-leaf pendants, 

(© legs pierced and carved with voluted scrolls, husk pendants and 
acanthus-leaf scrolls, acanthus-leaf carved and scrolled side, 

%) front and back rails with central pointed leaf finials correspond- 


ing with the pendants above, and lions’ paw feet. 


ANOTOLSOUG AM AIAV], LANIVAA NVILANAA AUYALINAD HINTALNAATG—FOIQ “ON 


606—SEVENTEENTH CEentTURY Tuscan InLAID WaLnutT TABLE 
Rectangular shape, with molded top and frieze carved with 
& overlapping patere, finished with a scrolled and voluted apron 
and supported at the angles by scrolled brackets. Turned, 
fluted, beaded and carved tapering legs. The top is inlaid in 
ebony and light-colored woods with a design of scrolled acan- 
thus leaves, flowers and geometrical intersections. 


Height, 2 feet 7 inches; length, 4 feet 4 inches; width, 2 feet 4 inches. 


607—SEVENTEENTH CENTURY VENETIAN WALNUT TABLE 
Rectangular top with molded edge and plain frieze with scrolled 
and voluted apron. Legs of rectangular section scrolled, vo- 

[ luted, decorated with raised lozenges and set diagonally on 
molded bases with raised chamfered dies. Longitudinal molded 
stretcher with scrolled and voluted finials and curved and 
scrolled rising braces decorated with raised lozenges. 


Height, 31 inches; length, 51% inches; width, 25 inches. 


(Illustrated) 


HTaV T, LONIVAA NVILANGTA AUDINAT) HINGALNAAAS—) (IQ “ON 


. 
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Ptb Sth Sahi att 


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OCD AON Som on On ues 


608—SIXTEENTH CENTURY ‘TUSCAN GILT WaLNuT Mirror FRAME 


Rectangular shape. ‘The inner frame molded and carved with 
flutings, beadings and reel and bead ornament. ‘The sides sup- 


ported by scrolled and voluted brackets meeting on shell centers, © 


and the apron carved to correspond. On cresting is a scrolled 
and voluted carved broken pediment, having in the center a 
scrolled oval escutcheon charged with a coat-of-arms of a couped 
dragon, supported by two youthful angels and surmounted by 
the Papal Tiara and crossed keys. Carving heightened by 
gilding. 

This coat-of-arms was that of Ugo Buoncompagno (1502-1585), 
Pope Gregory XIII, for whom the frame was made. It is to this Pope 


that we owe the Gregorian calendar, in almost universal use at the 
present day. 


eS i 


“ 
4 
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a 


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. 73 
‘ 

naa 
riot 


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‘ 

Vv 609-—SixrrentH Century Tuscan Warnutr Mirror Frame 
Rectangular shape with molded and fluted cornice supported 
by rectangular consoles with fluted fronts and pendants carved 
with overlapping pater,” The frame is molded and carved with 
bands of guilloche patterning separated by square rosetted dies, 
and the apron is scrolled, voluted and carved with a female. 


7. Height, 641% inches; width, 42% inches. 


~ 


N 


Rectangular shape with molded and fluted top. Body arranged 
as cupboard with drawer over. Cupboard with hinged and 
molded paneled door, the panel carved with circular fluted me- 
dallions and fluted fan-shaped ornaments at angles. Tlanked 
by molded panels carved/with voluted palm-branch patterning. 
Drawer above with front and flanking dies, and plinth below 
with molded panel, all carved to correspond. Incurved stand, 
carved with voluted scrollings and winged lion mask, molded 
base and scrolled feet. | 


\ ra /610—SIXTEENTH CENTURY TuscAN WALNUT CABINET 


A Height, 4 feet 6 inches; width, 2 feet 71% inches. 


611—SIXTEENTH CENTURY FLORENTINE CARVED WALNUT CASSONE 
y \ Rectangular shape. Molded domed top with molded edge 
(carved with flutings. The front is formed. as a sunken molded 


panel occupied by an elaborate carving of a central scrolled 
armorial oval escutcheon, surmounted by a winged grotesque 
mask and supported by two winged Grecian spliunxes, ter-— 
minating in boldly scrolled acanthus leaves and winged gry- 
phons. Incurved molded base carved with astragalled flutings. — 
Carved paw feet. : 


Height, 2 feet 4 inches; length, 4 feet 10 inches; depth, 2 feet 3 inches. 
(Illustrated ) 


612—FIrrEENTH CENTURY CENTRAL ITALIAN CARVED AND GILDED 


WALNUT CASSONE 


Sarcophagus-shaped, with domed hinged lid carved with flut- 
ings and imbrications. ‘The body with incurved frieze and lower 


, part carved with bold gadroonings and with scrolled acanthus 
» / leaves at the angles. Above and below are bands of bead and 


reel ornament. On carved paw feet. The carving is heightened 
with gilding. 


Height,-1 foot 91) inches; length, 5 feet 8 inches; width, 1 foot 10 inches. 


7 1 
| 
' 613—SIxXTEENTH CENTURY FLORENTINE INLAID WALNUT CASSONE 
‘ . ° e 
y Rectangular shape. Molded domed hinged lid with sunken 


) paneled top and edge carved with shallow flutings. The front , 
a is formed as a raised molded panel, occupied by inlay work 
\ . / of colored woods in a design of a central scrolled armorial es- 


cutcheon on a rectangular plinth, surmounted by a ducal coronet 
and flanked by two seated winged amorini extending their 
hands to two ambulant leopards, who are surrounded by scrolls 
\ of acanthus leaves and flowers. At the angles are male and 
female caryatid figures with voluted acanthus-leaf termina- 
tions. Incurved base cayved with curved astragalled flutings 
and acanthus leaves. On carved paw feet. 


Height, 2 feet 4 inches ;/length, 4 feet 10 inches; depth, 2 feet 3 inches. 
/ 
/ (Illustrated) 


614—SIXTEENTH CENTURY FLORENTINY CARVED WALNUT Cassone 
Sarcophagus-shaped, with molded, domed and hinged lid .and 


\ y an incurved frieze carved with astragalled flutings. The lower 
part of body carved with curved and voluted flutings, central 
/\) wreath of fruits enclosing a scrolled escutcheon, the angles with 

es acanthus leaves. On carved/lions’-paw feet. 


Height, 2214, inches; length, 631% inches; width, 20 inches. 


(Illustrated) 
/ 


/ 


/ 


FI9 
\ €19 


ee = rar 


NARS SN WS NaS 


rv \ 


615—Pair or SIXTEENTH CENTURY FLORENTINE CARVED WALNUT 


CASSONI 


friezes carved in relief with drapery festoons depending from 
winged masks and knots of ribbon. The lower parts of the 
bodies are carved with carved gadroonings and acanthus leaves 
in the centers and at the angles. On carved lions’-paw feet. 


\ A) " Sarcophagus-shaped, with molded, domed and hinged lids and 
(\ ray 


Height, 24 inches; length, 63 inches; width, 20 mches. 
(Illustrated) 


616—SIXTEENTH CENTURY FLORENTINE CARVED WALNUT CASSONE 


Sarcophagus-shaped, with molded, carved, domed and hinged 
lid and incurved frieze carved with astragalled flutings and 
acanthus leaves. The lower part of the body carved with curved 
and voluted gadroonings having a banded laurel wreath in the 
center occupied by a scrolled escutcheon charged with a coat-of- 
arms and acanthus leaves at the angles. Above are bands of 
shell and bead and interlaced annular, and below a band of 
bead ornament. On carved, voluted and fan-carved feet. - 


Height, 23 inches; length, 68 inches; width, 23 inches. 
( Illustrated) 


919 
S19 


A AN NC A 


Gli 


6138—> 


SIXTEENTH CENTURY BoLoGNrsrk [NLA CaAssonE | 
Rectangular shape, with domed, molded and hinged lid. The 
front and sides are paneled and painted with arabesque pattern- 
ings of grotesque animals, birds and scrollings, the front with 
a pear-shaped cartouche in the center. The panels are sur- 
rounded by borders painted, in/line, with a meander patterning, 
and the base is molded and painted, in line, with acanthus-leaf 
scrollings. On four carved paw feet. 

Height, 2 feet 24% inches; length, 5 feet 11 inches. 

(fllustrated) 


SIXTEENTH CENTURY FLORENTINE [NLA WALNUT CASSONE 
Rectangular shape, with a sunken paneled and hinged lid in- 
laid with bands of geometrical interlacements and frieze inlaid 
with false flutings. The front is divided by four pilasters with 
acanthus-leaf capitals and paneled shafts with three panels sur- 
rounded by sunken moldings and bands of differing inlaid pat- 
ternings and occupied with intarsiatured work, the center hav- 


ing a shaped shield charged with a coat-of-arms and supported 


by headless horses and bows of ribbons, that on the left with a 
view of a tiled courtyard, a classic building, trees and hills, and 
that on the right with a landscape and trees, a castello, a church, 
a river with boats and a bridge. Molded base carved with an 
imbricated patterning. 


Height, 30 inches; length, 72% inches; width, 2614 inches. 
(Illustrated) 


arcing i Matsa tee eA 


3 Se peter eee 


ve leaves, senate eee ae ie 
patterns and the base is molded. The sta 
with a frieze fitted with two drawers hav 

correspond with those above and supp¢ 
: beaukets-< on. cross, oe with: ve oe 


ote 
eke 


No. 619—SixtEENtH CENTURY Bresct1AN Waxtnut Capinet AND STAND 


620-——SEVENTEENTH CENTURY ITALIAN Esnony AND Bronze CaB- 


oy 
ye 
if 


INET 
Rectangular shape, of ebonized wood with molded cornice and 
base, on feet of gilt bronze shaped in front as dolphins and at 
the back as turned balls. The front is divided into eight com- 
partments with fronts of panels of reddish stone set in gilt 
bronze and a central arched compartment flanked by two female 
caryatids of gilt bronze on projecting pedestals. 


(Illustrated) 


621—EarLy SIXTEENTH CENTURY FLORENTINE WALNUT CASSA- 


)/ 


PANCA 
Rectangular shaped, with straight back. Molded top rail. 
Straight arms, molded on the sides and fronts and carved with 
imbrications and gadroonings. Seat formed as a box with 
hinged molded ld and fitted with drawers having bronze cres- 
cent-shaped handles. ‘The front and side are divided by raised 
moldings into rectangular molded panels, the center of the front 
having an octagonal broken panel enclosing a pear-shaped 
scrolled cartouche surmounted by a helmet and charged with 
the coat-of-arms of the Strozzi family; molded base and molded 
platform base. . 

Height, 3 feet 1% inches; length, 6 feet 10 inches. 


This bench came from the Strozzi Palace in Florence. 


(Illustrated) 


| 


eo 


622——FirTeentH CEenturY FLORENTINE CERTOSINA CASKET 


~~ Rectangular shape, with hinged lid having two side braces and 
molded base. Front, sides and top inlaid in ivory certosina work 


wc) in a diapered geometrical design, the front with a panel of oc- 
=~ i tagonal patterning surrounded by borders of star patterning. 
/ Swing looped carrying handles of wrought iron. 
623 


Rectangular top with molded edge, on four flat-shaped legs 

with voluted bracketed ends and shaped stretcher rails secured 

\ 6 ~ by keyed tenons which could be removed in order to take the 
table apart. 

Height, 2 feet 7% inches; length, 5 feet 11 inches; width, 3 feet 


10 inches. 
(Illustrated) 


624—Earty FIrreentH Crntury FLoRENTINE WALNUT SIDE 

{SIT ARLE 
eA Rectangular top with molded and fluted edge, on exceptionally 
xy heavy chamfered cross braces supported on square legs, the 
back legs plain and spreading, the front legs with carved, vo- » 
luted bracket ends resting on voluted bases carved with gadroon- 

ings. 

Height, 3 feet 4 inches; length, 6 feet 1 inch; width, 8 feet 9 inches. 
(Illustrated) 


SSD 


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623 


624 


jovdhvanessarr retiree erie 


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: Vays 
- /625—Eicutrrnta Century VENETIAN Lacqurrep EscrivorrE 
Rectangular shape, made in two portions. The upper part, with 
molded cornice and pierced and carved cresting of later date, 
is arranged as a cupboard fitted with compartments and 
pigeon-holes and closed with two hinged doors, the fronts 
of which have arched panels surrounded by raised mold- 
ings and occupied by mirrors, wheel-engraved with eight- 
pointed stars. The lower part is arranged as a desk with 
sloping fall-down front fitted inside with drawers and pigeon- 
holes. Below are two short and two long drawers, with cir- 
cular brass keyhole escutcheons and pear-shaped drop handles. 
Molded base and pear-shaped feet. The escritoire is decorated 
with gold lacquerings of Chinoiseries on a red ground, con- 
sisting of Chinese figure subjects, birds, flowers, rock-forms, 
interlacements and scrollings. 


Height, 7 feet 1 inch; width, 8 feet 2 inches; depth, 1 foot 10 wches. 
(Illustrated) 


No. 


ly A yy 1 
a5. he e— 


Fx 


625—E1gHTreentH Century VENETIAN LacauERED EscriTorre 


626—SEVENTEENTH CENTURY VENETIAN PAINTED CABINET ON 


gy 


STAND 

Rectangular shape, made in two portions. The upper part, with 
broken pediment, the pedestal surmounted by a circular pedi- 
ment, painted with the sacred monogram and with a painted 
frieze, is arranged as a cupboard, the interior fitted with drawers, 
having two hinged doors painted with stems of scrolled acanthus 
leaves and flowers springing from gadrooned vases. 'The lower 
portion, with plain cornice and painted frieze, supported at the 
angles by two detached Ionic columns, is also arranged as a 
cupboard fitted with drawers, and having two hinged paneled 
doors painted with grotesqueries of female figures holding 
dolphins, vases of flowers and scrollings. ‘The stand has a 
double molded top, with aperture for writing slab, and shaped, 
scrolled and painted apron supported on two spiral columns 
painted with branches of vine leaves and grapes. Molded 
stretcher shelf and ball feet. All painted in gold and colors on 
a black ground. 


Height, 7 feet 10 inches; width, 4 feet; depth, 2 feet. 
(Illustrated) 


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No. 626—SEvVENTEENTH CENTURY VENETIAN PainrTEp CABINET ON STAND 


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627—SIXTEENTH CENTURY FLORENTINE WALNUT CABINET 


Rectangular shape, made in two portions. ‘The upper part, sur- 
mounted by a cresting carved with two puttt supporting a 
pedestal crowned by an eagle with extended wings and flanked 
by scrolled acanthus leaves and flowers, has a molded cornice 
and plain frieze supported by paneled pilasters carved with 
standing puttt and pendants, and has been, at a later date, ar- 
ranged as a cupboard with hinged glazed doors. ‘The lower 
part, with molded cornice and frieze carved with a mask and 
scrollings, is flanked by paneled pilasters carved with amorini 
and pendants and arranged as a cupboard with hinged paneled 
doors carved in the centers with female masks. 


Height, 8 feet; width, 4 feet 2 inches; depth, 1 foot. 


(Illustrated) 


mee 


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~ Ga Ga eee — 


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SS 


ut CABINET 


No. 627—SixTreENtTH CENTURY FLORENTINE WALN 


628—LatTE SLXTEENTH CENTURY FLORENTINE WALNUT CABINET 


Rectangular shape, made in two portions. The upper part, sur- 
mounted by a cresting carved with two puttt supporting a 
pedestal crowned by an eagle with extended wings, has a molded 
and fluted cornice and carved frieze supported by bearded cary- 
atids terminating in lions’ macks, festoons, eagles and pendants, 
and has, at a later date, been arranged as a cupboard with 
hinged glazed doors. The lower part with molded, dentelled 
cornice, and frieze fitted with drawers with carved fronts, is 
flanked by paneled pilasters, and arranged as a cupboard with 
hinged paneled doors. Molded base and dolphin feet. 


Height, 8 feet; width, 4 feet 2 inches; depth, 1 foot 6 inches. 
/ (Illustrated) 


f 


No. 628—Lare SixreentH Century Fiorentine WaAtNut CaBINET 


629— EIGHTEENTH CENTURY VENETIAN Cane 
HarpsicHorD 


Tarp-shaped case, ee ane. lid | and tot, 


auOHOIsduvVp{ GALNIVd INV GHAUV,) NVILANG A AWOLNGA) HLINGAALHOIY—6§69 “ON 


y i - JR 7. hae Py 


$i, cc) ply &: Se @. we) 


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FIFTH AND LAST AFTERNOON’S SALE 


SATURDAY, APRIL 27, 1918 


AT THE AMERICAN ART GALLERIES 


BEGINNING AT 2.30 O'CLOCK 


630—SIXTEENTH CENTURY TUSCAN WALNUT WALL PEDESTAL 

Console form, with shaped and molded shelf and bracket sup- 
0. ported by a large volute masked by a carved acanthus-leaf 
v scrolling having a tapering molded and voluted termination and 


a square molded base. 
Height, 5 feet 3 inches. 


\Ara, Reet Vp 7 
631—SIxXTEENTH CENTURY TUSCAN-P-APTER-MACHE WALL PEDESTAL 


Console form, with semi-octagonal molded shelf supported by 
a winged grotesque caryatid figure with tassel-hung drapery 
and tapering-leaf carved termination. On carved paw base. 


Height, 4 feet 4 imches. 


La 


(Illustrated) 


Vt \ + 


WweliA 
-  632—SrxTEENTH CentTURY Tuscan Parir-arxeHkt WALL PEDESTAL 
yo & Console form, with semi-octagonal molded shelf supported by a 
hae oye 
winged grotesque caryatid figure with tassel-hung drapery and 


tapering-leaf carved termination. On carved paw base. 


Height, 4 feet 4 inches. 
(Illustrated ) 


633— Pair oF SIXTEENTH CENTURY Tuscan Watnut WAtxL PEDES- 
TALS 
qo! Console form, with shaped, molded and mask supported shelf 
and square paneled bracket supported by two shaped, voluted 
and leaf-carved wings having between them a tapering panel 
carved with flower and leaf cluster and tasseled pendant. On 
square molded base. 


- 


Height, 4 feet 11 mches. 
(Illustrated) 


f3 


634—SIXTEENTH CENTURY TUSCAN WALNUT WALL PEDESTAL 


Console form, with shaped, molded and mask supported shelf 

>? and square paneled bracket supported by two shaped, voluted 
\\° and leaf-carved wings having between them a tapering panel 
3 carved with flower and leaf cluster and tasseled pendant. On 


square molded base. 
Height, 4 feet 8% inches. 


635—SIXTEENTH CENTURY FLORENTINE ParntED Woop Coat-or- 

era ete! ARMS 

Octagonal escutcheon in molded frame painted with two putti 
undraped and supporting a shaped shield charged with the coat- 
yd : of-arms of the Borgia family. 

Vv Diameter, 29 inches. 

(Illustrated) 


638 


636—SixTEENTH CENTURY FLORENTINE CaARvED AND Git Woop 

200°” CoAT-OF-ARMS 
~* Shaped escutcheon in frame of voluted scrollings carved with 
: floral scrollings, birds’ heads and a shell and surrounded by 
Re: three figures of putti. The escutcheon is charged with the arms 
| of the Medici family (six pellets), carved in high relief. Gilded. 


Height, 55 inches; width, 44 inches. 
(Illustrated ) 


6387—SIXTEENTH CENTURY FLORENTINE CARVED AND PAINTED 
+5 Woop Coat-oF-ARMS 
eae “y= "" “Carved oval scrolled and voluted escutcheon charged with a 
‘tus painted coat-of-arms. 3 
Height, 283 inches; width, 17% inches. 


(Illustrated ) 


-638—FIrTEENTH CENTURY FLORENTINE COLORED Stucco Coat-or- 

ea aie eA MS 
Circular medallion bordered by two cornucopiz and surmounted 
by a cherub with outstretched wings. ‘The medallion is modeled, 
2 in low relief, with a shaped shield charged with the arms of the 
( 0 Medici family, five pellets, one with the lilies of France, sur- 
mounted by crossed keys and a Papal tiara and supported by 


two demi-lions. This escutcheon was made for Giovanni de’ 
Medici (Pope Leo X). 


(Illustrated) 


639—SIXTEENTH CENTURY VENETIAN CARVED AND PAINTED CoatT- 
OF-ARMS 
Rectangular tablet with molded frame enclosing a voluted and 
mae scrolled shield charged with a painted coat-of-arms and sus- 
oa pended from a floral rosette by a knotted and scrolled ribbon. 
Hanging from the upper volutes of the shield is a festoon of 
clusters of fruits and leaves suspended by scrolled ribbons. 


Height, 42 inches; width, 30 inches. 
(Illustrated) 


9€9 LE9 


640—FirreENtH CENTURY FLORENTINE PAINTED COAT-OF-ARMS 
Circular medallion painted with scrollings of acanthus leaves 
and flowers and with.a shaped shield charged with the arms of 
0° the Piccolomini family quartered with those of a related family. 
| In carved and gilt wood frame formed as a banded wreath of 
fruits and leaves. 
Diameter, 36 inches. 


641—SIXTEENTH CENTURY FLORENTINE CARVED Woop CoAat-orFr- 
ARMS 
Shield of carved wood suspended by bowed and scrolled ribbon 
vad and charged with the arms of Castile quartered with those of 
the Gonzaga family. | 
Height, 40 inches; width, 24 inches. 


(Illustrated) 


642— SEVENTEENTH CENTURY VENETIAN .CARVED Woop CoatT-oF- 
a Pe ARMS 
Oval escutcheon surrounded by a fluted frame and by bold 
voluted scrollings carved with masks, a double festoon of flowers 
and leaves and surmounted by a heraldic statant lion. The es- 
QO” cutcheon is charged with the coat-of-arms of the Capello family, 
cup with cords, a rayed sun and a cross. 


Height, 56 inches; width, 33 inches. 
(Illustrated). 


Sie A eT 


639 


643—SrxTEENTH CENTURY FLORENTINE CARVED AND PAINTED 
CoAT-OF-ARMS 

Serolled and voluted oval escutcheon carved above with two 

ide dolphins, below with a grotesque mask and charged with a 

painted coat-of-arms. 

Height, 36 inches; width, 27 wmches. 


(Illustrated) 


644—SIXTEENTH CENTURY FLORENTINE CARVED AND GILT WALNUT ~ 
iat Har Rack 
: Rectangjilar shape, with molded and fluted cornice. The body 
is arranged in five molded panels enclosing carved rosettes, in 
eS ee the center of which are turned wooden hat-pegs. The cresting 
5 is formed of a scrolled egg-shaped armorial escutcheon, 
charged with a coat-of-arms and flanked by two voluted scrolls 
and cherubim. ‘The apron is shaped, scrolled and carved in the 
center with a winged mask. Carving heightened by gilding. 


Height, 2 feet 3 inches; length, & feet 1 inch. 
(Illustrated) 


6444—SIxTEENTH CENTURY FLORENTINE WaLNnut Har Rack 
°°°" Rectangular shape, with molded and fluted cornice.. The body 
5" is arranged with three oval scrolled and voluted panels, having 
bd in each two turned and carved hat-pegs. Shaped and scrolled 
v apron, carved with overlapping patere and with an oval ar- 
morial escutcheon painted with a rampant lion in the center. 


Height, 1 foot 4 inches; length, 4 feet 5 inches. 
- (Illustrated) 


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645—Pair oF SIXTEENTH CenTURY VENETIAN WALNUT CHaIRs 

Straight open back with square side supports, acanthus-leaf 

carved finials and two horizontal splats carved with pear-shaped 

sA- 4 - escutcheons, scrollings and acanthus leaves. Wooden seats with 

i straight square legs, shaped side rails and deep front rails 
carved with pear-shaped escutcheons and scrollings. 


4 (Illustrated) 


646—SIXTEENTH CENTURY FLORENTINE WALNUT ARMCHAIR 
Straight back with square side supports, carved finials and two 
_, horizontal splats pierced and carved with acanthus-leaf scroll- 
Vl 7 ings and a shell. Straight molded arms on square supports 
with acanthus-leaf brackets, wooden seat with scroll carved 
J* apron, straight square legs and side rails and deep front rail 
carved with voluted scrolls and demi-rosettes. 


(Illustrated) 


647—F our SIXTEENTH CENTURY FLORENTINE WALNUT ARMCHAIRS 

Straight backs. Square side supports with acanthus-leaf carved 
J finials and two horizontal shaped splats carved with trefoils and 
Pan fan-shaped leaves and incised with scrolled and voluted line. 
Cente Straight flat molded arms on square supports, wooden seats 
with shaped aprons and front rails carved and incised with 
scrolled and voluted lines. Square legs, shaped side rails. 
Carving and incised lines gilded. 


“ws 


(Illustrated) 


648—F our SIxTEENTH CentTURY FLORENTINE WALNUT ARMCHAIRS 
Similar to the preceding. 


u 


ie 649—F our SIXTEENTH CENTURY FLORENTINE WALNUT ARMCHAIRS 
Similar to No. 647. 


6 
7 
\¥ 


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. 650—F our SIxTEENTH CENTURY FLORENTINE WALNUT ARMCHAIRS 


¢ 


5 Similar to No. 647. 


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651—SixTEENTH CreNntTURY BoLocNeseE WaLNuT CHAIRS 
Straight open backs with square fluted side supports and acan- 
| thus-leaf carved finials. Deep quatrefoil-shaped splat pierced 
\L 0 and carved with scrollings and flowers. Wooden seats with 
shaped and scrolled aprons. Straight, square and turned legs 
with shaped side and back rails and deep shaped front rail 
carved with acanthus-leaf scrolls. 


(Illustrated) 


652—Pair or Earty SIxTEENTH CENTURY T‘LORENTINE WALNUT 
CHAIRS 
Rectangular backs with square side supports, (gilded acanthus- 
\ leaf carved finials and two horizontal splats pierced and _ carved 
in a design of quatrefoils and fleurs-de-lis,) Pierced and carved 
apron, square legs and side rails, and deep front rail pierced 
and carved (with quatrefoils and fleurs-detlis. ) 


Go" 7 oie CStA don Qian (Illustrated) 


6538—SIXTEENTH CENTURY FLORENTINE WALNUT ARMCHAIR 

Straight back with square carved side supports, acanthus-leaf 
carved finials and two horizontal splats pierced and carved with 
» acanthus-leaf scrollings and a shell. Curved flat voluted arms 
yu on square supports with acanthus-leaf brackets. Leather-coy- 
ered seat with leather apron secured by large brass-headed nails. 
Straight square legs and side rails. Shaped and pierced back 
rail and deep front rail pierced and carved with acanthus-leaf 

scrolls. 

(Illustrated) 


654—-Pair oF SIXTEENTH CENTURY FLORENTINE WALNUT ARM- 
CHAIRS 

Straight back, with square side supports and finials carved as 

Gothic leaves. Straight flat molded arms on turned baluster- 


Ok shaped supports, turned legs and square base rails with paw 
eh a terminations. Backs and seats covered with contemporary 
yt leather, gold tooled, as to the backs with scrolled armorial 

Sy he shields and palmette-shaped ornamentations, and as to the 
0 © aprons, with bands of scrollings. Secured by large round- 


headed brass nails and finished: with knotted silken fringe. 


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653 


651 


655—Ser or Turee Firreentra Century FLorENTINE WALNUT 
CHAIRS 
Rectangular backs with square side supports, gilded acanthus- 
leaf finials and two horizontal splats pierced and carved with 
) interlacements of pomegranate branches and fruits. Square 
\ © ~ straight legs and side and back rails and deep front rail carved 
to correspond with the splats. 
Signor Bardini directs attention to these chairs as forming 1n- 
teresting examples of the almost Gothic rigor of the early Renaissance 
design to become coarsened and deteriorated in later centuries. 


Coie ae (Illustrated) 


656—Turer SixteentH Century FLORENTINE WALNUT CHAIRS 
Rectangular backs with square side supports, gilded acanthus- 

yo leaf carved finials and two horizontal splats pierced and carved 
YY in a scroll design. Shaped apron, square and turned legs with 
square side rails and front rail pierced and carved to correspond 

with the splats. , 


0 iN (Illustrated) 
657—SIXTEENTH CENTURY FLORENTINE WALNUT CHAIR 
,°°: Straight back, square side supports with acanthus-leaf carved 
A} OF ai finials and two shaped horizontal splats, pierced and carved in 


(j pra a he , designs of voluted scrollings and acanthus leaves. Square legs 
a with shaped front rails pierced and carved in designs of voluted 
scrollings and rosettes, and shaped side rails. Seat covered with 
contemporary leather secured with large brass-headed nails and 

finished with silk fringe. 


no.uw bS ) Dx (Illustrated) 


658—THreE Karty SixreentH Century FLORENTINE WALNUT 
nee thc SCH AIRS 
Rectangular backs with square side supports, gilded acanthus- 
bien leaf carved finials and two horizontal splats pierced and carved 
o in a design of quatrefoils and fleurs-de-lis. Pierced and carved 
apron, square legs and side rails and deep front rail pierced 
and carved with quatrefoils and fleurs-de-lis, 


- \ ~ 
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659—T wo Srxrrentu Century Frorentine WaALNvuT CHalrrs 
“=°~ Soabello type. Shaped backs carved with voluted_ scrollings 
and scrolled egg-shaped escutcheons charged with coats-of-arms. 
Shaped seats with circular depressions and fluted edges, shaped 
front supports carved with rosettes, twin dolphins and egg- 
shaped escutcheons charged with coats-of-arms, and shaped 
back supports. 


660—SIxTEENTH CENTURY FLORENTINE WALNUT CHAIR 

:. Sgabello type. Shaped back carved with female caryatids sup- 
porting voluted crestings and terminating in scrolled acanthus 
leaves; between them is carved the Orsini coat-of-arms. Semi- 
octagonal seat with carved edges, shaped front support carved 
with scrolls, acanthus leaves and an egg-shaped escutcheon 
charged with a coat-of-arms and shaped back support. 


661—SIxXTEENTH CENTURY FLORENTINE WALNUT CHAIR 


Sgabello type. Shaped back carved with voluted scrolls and a 
grotesque mask; seat with chamfered angles; shaped front sup- 
ports carved with twin dolphins and a scrolled egg-shaped es- 
cutcheon and shaped back support. 


662—SIXTEENTH CENTURY FLORENTINE WALNUT CHAIR 


Sgabello type. Shaped back carved with voluted scrolls, shells 
and an oval scrolled escutcheon carved with the Borghese coat-_ 
of-arms. Shaped wooden seat; front support carved with vo- 
luted scrolls and shells, and shaped back support. 


6638—-Pair OF SIXTEENTH CENTURY FLORENTINE WALNUT CHAIRS 


“lS eabello type. Shaped backs carved with voluted scrolls, flut- 
ings and scrolled heart-shaped escutcheons; shaped seats with 
circular depressions; shaped front supports carved with rosettes, 


dolphins and scrolled heart-shaped escutcheons and shaped back — 
supports. 


664—THREE SIXTEENTH CENTURY FLORENTINE WALNUT CHAIRS: 
Sgabello type. Shaped backs carved with voluted scrolls. Cir- 
cular medallions and oval escutcheons. Semi-octagonal seats 
with molded edges, square tapering box pedestals, shaped front 
supports carved with voluted scrolls and scrolled egg-shaped 
escutcheons, and shaped back supports. 


663 662 664 


WE 


665—Two SIxTEENTH CENTURY FLORENTINE WALNUT CHAIRS 


Sgabello type. Shaped backs carved with voluted acanthus-leaf 
scrolls and oval escutcheons, one charged with a coat-of-arms. 
Semi-octagonal seats, shaped front supports carved with vo- 
luted acanthus-leaf scrolls and dolphins, and shaped back sup- 
ports. 


666—T'wo SrxreentH CrentTuRY FLORENTINE WALNUT CHAIRS 


Sgabello type. Shaped backs carved with voluted scrolls and 


_ scrolled oval escutcheons, one charged with a coat-of-arms; 
shaped and octagonal seats; shaped front supports carved with 


dolphin and scrolled egg-shaped escutcheons, and shaped back 
supports. — . 


667—SrxTeEntTH CENTURY FLORENTINE WALNUT ARMCHAIR 


“Hoa, - 


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v 


a 


Square back, with gilded finials carved as masks; flat curved 
voluted arms on square baluster-shaped supports; straight 
square legs on square base rails, with paw terminations and 
deep front rail pierced and carved with voluted scrolls and cir- 
cular medallions. Back and seat covered with contemporary 
green velvet bordered with gold galloon, secured with rosetted 
brass-headed nails and finished with silk fringe. 


668—SIXTEENTH CENTURY FLORENTINE WALNUT ARMCHAIR 


{ #0 


Rectangular back with square side supports and gilded acan- 
thus-leaf carved finials. Straight, flat, molded arms on square 
supports with carved acanthus-leaf brackets. Straight square 
and turned legs, square side and back rails and deep front rail 
carved with voluted scrolls and a central rosette. The seat and 
back are covered with contemporary tapestry woven with gold 
background in a pattern of Neptune, Nereids, a Dragonfish 
and conventional waves. The carving is heightened with gild- 


ing. 


669—Pair oF SIXTEENTH CENTURY FLORENTINE WALNUT ARM- 


CHAIRS 


Rectangular backs, with gilt carved finials, square curving and 
voluted arms on curved supports carved with acanthus leaves, 
straight square legs, pierced front rail carved with scrolls and 
volutes and square base rails with paw terminations. Backs 
and seats covered with red and yellow brocatelle, of a conven-. 
tional flower and leaf design, secured with round brass-headed 
nails and finished with silken fringe. Carving of frame gilded. 


667 


669 ee 


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670—SIXTEENTH CENTURY FLORENTINE WALNUT ARMCHAIR 
\-Rc0+e> 
Prk 


Rectangular back, with square side supports and gilded acan- 
thus-leaf carved finials. Straight, flat, molded arms on square 
supports with carved acanthus-leaf brackets. Straight square 
and turned legs, square side and back rails, and deep front rail 
carved with voluted scrolls and a central rosette. The seat and 
back are covered with contemporary tapestry, the back being 
woven, with gold background, in a design of Neptune brandish- 
ing his Trident and standing in a chariot drawn by sea horses; 
in the distance are Nereids, in the foreground fish and a sea 
dragon, and the background is of conventional wave forms. 
The seat has a design of a waterfall and the sides have a tapestry 
border of floral rosettes and ribbons. The carving is height- 
ened with gilding. 


‘These gold-woven tapestries are of rare occurrence. The reason 
generally advanced is that in the late eighteenth century they were 


burnt in large quantities in order to recover the gold bullion woven 
into them. 


671—SIXTEENTH CENTURY FLORENTINE WALNUT ARMCHAIR 


‘=s®~ Rectangular back, with square side supports and gilded acan- 

, thus-leaf carved finials. Straight flat molded arms on turned 

Sy “Haluster-shaped supports. Straight square and turned legs 

on square base rails with paw terminations and deep front rail 

» carved with voluted scrolls and a central rosette. ‘The seat and 

» back are covered with contemporary tapestry, the back being 

\ Se woven, with gold background, in a “verdure” design with trunks 

of trees, foliage, rocks, a winding stream of water and wild ani- 

mals, including camels, deer, an elephant and what is meant 

to be a hippopotamus. The seat has a verdure design and the 

sides a tapestry border of floral rosettes and ribbons. The 
carvings are heightened with gilding. 


672— 


674— 


SrxreentH Century FLorentiInE WaALNuT ARMCHAIR 
Rectangular back, with acanthus-leaf carved finials. Flat 
molded arms on turned baluster-shaped supports, straight 
square and turned legs on square base rails with paw termina- 
tions and deep front rail carved with voluted scrollings and a 
central egg-shaped escutcheon. Back and seat covered with 
contemporary tapestry, the back woven in a design of a mason- 
sculptor at work on an architectural carving. 


(Illustrated) 


SIXTEENTH CENTURY FLORENTINE WALNUT ARMCHAIR 
Rectangular straight back, with carved and gilt finials. Flat 
molded arms on turned baluster-shaped supports. Square and 
turned legs on square base rails with paw terminations. Back 
and seat covered in contemporary tapestry, woven, the back in 
a design of a woman in sixteenth-century costume holding a 
festoon of fruits and leaves, the seat with an escutcheon, the 
apron with flowers, fruits and leaves. 


(Illustrated) 


SIXTEENTH CENTURY FLORENTINE WALNUT ARMCHAIR 
Rectangular back, with acanthus-leaf carved finials. Flat 
molded arms on turned baluster-shaped supports, straight 
square and turned legs on square base rails with paw termina- 
tions and deep front rail carved with voluted scrollings and a 
central rosette. Back and seat covered with contemporary 
tapestry, the back woven in a design of a gardener in sixteenth 
century costume, seated, with his arms resting on a cluster of 
pomegranate and flowers. 


(Illustrated) 


673 


oT 


674 


675—SIXTEENTH CENTURY FLORENTINE WALNUT ARMCHAIR 


\r°°- High straight back, with gilded voluted finials carved with 
eagles and lions’ heads; flat molded arms on turned supports, 
square and turned legs on square base rails with paw termina- 
tions and deep front rail pierced and carved with voluted scrolls 
and palmettes. Seat and back covered with contemporary 
tapestry woven in a design of a scrolled medallion occupied by 


two figures in sixteenth century costume and finished with silk 
fringe. 


676—SIXTEENTH CENTURY FLORENTINE WALNUT ARMCHAIR 


Rectangular back, with gilded acanthus-leaf carved finials. 
Flat molded arms on curved acanthus-leaf carved supports; 
straight square legs and deep front rail carved with an oval 
escutcheon charged with a coat-of-arms, and with acanthus-leaf 
scrolls and volutes. Back and seat covered with crimson velvet, 


bordered and paneled with broad gold galloon and finished with 
silken fringe. 


42 


677—Pair OF SEVENTEENTH CENTURY VENETIAN WALNUT ARM- 
CHAIRS 
Rectangular backs, with gilt bronze ball finials; curving, reeded 
- and voluted arms on square supports; square molded legs pan- 
eled and carved with twisted ribbon patterning. Scrolled, vo- 
luted and carved cross stretchers. Seats and backs covered in 
Hungarian point embroidered in designs of scrolled acanthus 
leaves and flowers and finished with silken fringe. 


678—SIXTEENTH CENTURY FLORENTINE WALNUT ARMCHAIR 


Rectangular back, with gilded acanthus-leaf carved finials. 
Flat molded arms on curved acanthus-leaf carved supports; 
straight square legs and deep front rail carved with an oval 
escutcheon charged with a coat-of-arms, and with acanthus-leaf 
scrolls and volutes. Back and seat covered with crimson velvet, 
bordered and paneled with broad gold galloon and finished with 
silken fringe. 


“ 


>t eee iaemcr ae | 


Sorperenn seer peeparninct ha 


679—Pair or SIxTeEENTH CENTURY FLORENTINE WALNUT ARM- 
CHAIRS 

Square backs, with gilded acanthus-leaf carved finials; flat 
curving voluted arms on turned and carved baluster-shaped 
supports; straight turned and carved legs on square base rails, 
) with carved terminations and deep front rails carved with vo- 
by luted scrolls and rosettes. Seats and backs covered with con- 
temporary crimson velvet bordered with gold galloon, secured 
with large round brass-headed nails and finished with silk 

fringe. 


680 SX Earty SIXTEENTH CENTURY FLORENTINE WALNUT 
a Let CHAIRS 

, PY Straight backs, with acanthus-leaf carved finials. Straight 
~ square legs, with deep front rail pierced and carved in a design 
( \) (pe of voluted scrolls, and shaped back rail. Seats and backs coy- 
\. . ered in original leather fastened with round-headed brass nails. 
The backs gold tooled with circular medallion enclosing a 
chrysanthemum blossom and the inscription: “ss. ROSARI DEL 

MOD.” 


SO QP 


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® 681I—SixTEENTH CENTURY FLORENTINE WALNUT ARMCHAIR 


A Square back, with carved finials, flat arms on turned baluster- 
r shaped supports, square legs on round base rails with voluted 


terminations and deep front rail carved with voluted scrolls and 
a central oval escutcheon surrounded by acanthus leaves. Seat 
and back covered with Hungarian point embroidery secured 
with round brass-headed nails. 


682—TuHreE EARLY SIXTEENTH CENTURY FLORENTINE WALNUT 
CHAIRS 
Similar to the preceding. 


683—SEVENTEENTH CENTURY VENETIAN WALNUT ARMCHAIR 


Straight back, with shaped top. Curving, molded, voluted and 
carved arms on bulbous turned and carved supports. Turned 
and carved legs, with voluted feet and deep front rail pierced 
and carved with linked acanthus-leaf scrollings. Turned side 
rails. Back and seat covered with silk damask woven in a de- 
sign of flowers and scrolls, the latter finished with silken fringe. 


684—SIXTEENTH CENTURY FLORENTINE WaLnut ARMCHAIR 


: 
of 


Rectangular back, with gilded acanthus-leaf carved finials. 
Flat molded arms on curved acanthus-leaf carved supports; 
straight square legs and deep front rail carved with an oval es- 
cutcheon charged with a coat-of-arms, and with acanthus-leaf 
scrolls and volutes. Back and seat covered with crimson velvet, 
bordered and paneled with broad gold galloon and finished with 
silken fringe. 


d) a8 Sani eben beekee ane eRe ar carvec 
cylindrical pedestal and carved Bete wane feet. 


ei Hastratedye 


686 Six Tren Ee Canine CENTRAL Iranian” 


Leer, TABLE 355 
r Octagonal top with plain edge, peed 
GY bracketed and voluted wings, with ps 
Q “pendant and lions’ paw carved ae : * ie 
| oe | (lustrated) ne ae 
= a 
pt. si 3 Sp 


685 


686 


- 


687—SixteentuH Century Tuscan Wace OcTAGONAL | 
\°°.~ Octagonal top with molded and enriched rim, supported Or 
pierced and carved voluted brackets with molded 
upright rails meeting in the center to form a pe 
: molded octagonal base. Re - | 


Height, 2 ee 7% inches; dia 
(Illustrated) 


688—EarLty SIXTEENTH CENTURY Nowra Tranian 
TABLE Ae 

0 Rectangular plain top, with chanieeneds cross | 
wh / apron fitted with two drawers with paneled fre 
y ___ by shaped, scrolled and voluted brackets on recta 
with paneled sides, fitted with two drawers with 
Square plain base and shaped, scrolled and. 


Height, 2 feet 8 inches; length, 4 Piss My inches ath, 
1%, inch. eon 


(Illustrated) ge 


688 


em at. van’, TS ay ay 
; , "ae f 
,, ; > y. ie, Che a 


Octagonal Slain fap ee on aus stint ; d 
Q yO paneled frieze and four carved and voluted w 
drical pedestal and carved lions’ paw feet. 


(Illustrated) 


ele oe a ae 
iron scrolls with curving flatten f d toe 


(E eo) ) 


5 aie 
e « » fe 
Ca ; 
] ff os 
i w -- 
* na ~ . 
» 
Se 
¢ 
“e 
es . 
| eae 
i 
on 
P 


689 


? 


us 


i N 8 3 
y 
a 
4 ; 
tn ihe) 
+L 
ie | 
tale ii 
/ fe 3 
a 
at | 
Os : 
eh 


4 
te 
rie 


691—SIXTEENTH CENTURY LIGURIAN WALNUT CABINET 


Rectangular shape. The molded top is hinged to open and 
with the frieze, carved with acanthus leaves, is supported 
by pilasters with molded capitals and paneled shafts carved 
with scrolled, voluted and rosetted patternings, and the body, 
arranged as a cupboard with two hinged doors, and the sides. 
arranged as shallow cupboards, are paneled and carved with 
oval leaf medallions having floral rosettes at the angles and 
turned wooden knobs in the centers. On molded and fluted 
base and plinth carved with false shaped apron and rectangular 


panels of voluted leaf ornamentations, and arranged as three ° 
drawers. . 


Height, 3 feet 3 inches; width, 3 feet 10 inches; depth, 1 foot 91% inches. 


aN 


yi 
a fd 


Warr: - ii ; aha 
‘ VROPPR PPT ROOT aE 


Wee : a 


692—SIxTEENTH CENTURY UMBRIAN WALNUT CABINET 


a 


Rectangular shape, with molded top and frieze fitted with 
drawer, the front carved with voluted palmettes flanked by 
acanthus-leaf carved console brackets which serve as drawer 
fronts and are supported on pilasters whose fronts are carved 
with imbrications and which have acanthus-leaf carved consoles 
serving as drawer fronts in place of capitals. The body ar- 
ranged as a cupboard, with two hinged doors whose fronts are 
paneled and surrounded by borders carved with zigzag orna- 
mentation. On molded base, with plain plinth and ball feet. 


Height, 2 feet 3 inches; width, 3 feet 4 inches; depth, 1 foot 5 inches. 


698—EarLy SEVENTEENTH CENTURY FLORENTINE WALNUT 
CABINET . 
Rectangular shape, with incurved angles. Molded cornice and 
plain frieze, supported by two pilasters with tapering paneled 
shafts and Composite capitals, arranged as a cupboard with two 
hinged doors having shaped paneled fronts. On molded base 
with cushion feet. 
Height, 3 feet 81% inches; width, 4 feet 814 inches; depth, 2 feet 


11 inches. 
(Illustrated) 


694—SIXTEENTH CENTURY FLORENTINE WALNUT CABINET 


Rectangular shape, with molded and carved cornice and paneled 

frieze, carved in the center with scrolled escutcheon, supported 
" by winged caryatids terminating in tapering shafts and claw 
feet on carved pedestals. Fitted with eleven drawers, with pan- 
eled fronts and turned knobs and with two round-arched and 
recessed compartments supported by detached Doric columns. 
Molded and carved base. 


tate 


ayn 


Height, 30 inches; width, 40 inches; depth, 18 inches. 
(Illustrated) 


s aot sae enn, 


‘ 
i 


gee 9 = 
a cons tace Uh 


vs 
ai 


694, 


695—SIxTEENTH CENTURY FLORENTINE WALNUT CABINET 
Rectangular shape, with molded, fluted cornice and frieze, en- 
riched by circular medallions separated by console brackets, sup- 
ported by two pilasters with tapering carved shafts and molded 
capitals. Arranged as cupboard, with hinged paneled doors 
having turned knobs. Molded and carved base, shaped and 
scroll carved apron and paw feet. 


Height, 4 feet 6 inches; width, 4 feet 8 inches; depth, 2 feet 3 inches. 
(Illustrated) 


696—SIXTEENTH CENTURY FLORENTINE WALNUT CABINET 

Rectangular shape, with molded top and frieze enriched with 
: ~/> circular medallions separated by triglyphs and guttz and fitted 
ay with two drawers. Supported at each side by console brackets 
with carved fronts and arranged as a cupboard with two hinged 
and molded paneled doors flanked by vertical molded panels. 

Molded and broken base. 
Height, 36 inches; length, 48 inches. 


(Illustrated) 


A 


5509 992222 Be 


x sana.“ ae 


om 908 ti A 


pO LIU 9 SEN, TEE HN 


695 


696 


6o7—— 


rd 


SIXTEENTH CENTURY TUSCAN WALNUT CABINET 


Rectangular shape. Molded top, with frieze fitted with two 
drawers with molded paneled fronts and turned wooden knobs. 
The body is arranged as a cupboard with two hinged doors with 
sunken paneled fronts and diamond-shaped medallions formed 
by raised moldings. These doors are separated and flanked 
by columnar pilasters with fluted capitals and tapering and 
vase-shaped shafts carved with imbrications, flutings and gad- 
roonings. Plain broken plinth, molded base and shaped cross 
block feet. The sides are paneled to conform with the front. 


Height, 3 feet 3 inches; width, 8 feet 2 inches; depth, 1 foot 6 inches. 


698—SIXTEENTH CENTURY NortrH ITALIAN WaALNutT CABINET 


*S°~ Rectangular shape. Molded and carved cornice and plain frieze 

carved with a bearded mask and rosettes supported by seven 

: (0 caryatids: four of queens, with drapery and voluted termina- 
tions; three of Tritons, with twisted fishtail terminations. <Ar- 

ranged as a cupboard, with hinged panel doors having in the 

centers bronze masks supporting swinging looped handles of 


bronze. Molded base. 


Height, 3 feet 9 inches; width, 4 feet 7% inches; depth, 1 foot 9Y% 
inches, 


699—F 1rrEENTH CrentTuRY IraLIAn WaLNnut Canoprep CATTEDRA 
High paneled back, with molded cornice and plain frieze sup- 
ported by two shaped brackets. The arms are shaped and 
voluted, the seat formed as a box with hinged lid and paneled 
front and sides, and the base molded. 


Height, 7 feet 7 inches. 


te Ge 


700—SIXTEENTH CENTURY FRENCH WatLnut THRONE CHAIR 


) 400 
— 


High back, with molded cornice and carved frieze supported 
by two pilasters having paneled shafts and Composite Corin- 
thian capitals, enclosing a paneled center carved with acanthus- 
leaf rinceaux springing from a vase with flowers, tablets, a 
cherub and masks. Curved, molded and voluted arms on 
carved paneled supports. Seat formed as a box, with twin 
paneled front carved with linen folds. 


Height, 6 feet 5 inches; length, 1 foot 9 inches; width, 3 feet 
4 mches. 


Signor Bardini has always attached particular importance to this 
chair as an admirable example of the French Renaissance. It came 
from the collection of M. Carrand, Director of the Lyons Museum, who 
bequeathed a large portion of his collection to the Bargello Museum, 
Florence. 


701—“B&D SixTEENTH CENTURY FLORENTINE WALNUT ARMCHAIRS 


Ks 


702 


x). 
y’ 


5 
. 


Straight back with fluted and astragalled side supports and 
acanthus-leaf carved finials and two horizontal splats carved 
with voluted scrollings and pointed leaves. Flat curving voluted 
arms on square supports with acanthus-leaf brackets, wooden 
seat with pierced apron carved in voluted scrolls, straight square 
legs and side rails, shaped back rail and deep front rail pierced 
and carved in scrolls and a center diamond-shaped medallion. 


SIXTEENTH CENTURY FLORENTINE WaLNuT ARMCHAIR 

Rectangular back, with gilded acanthus-leaf carved finials. 
Flat molded arms on curved acanthus-leaf carved supports, 
straight square legs and deep front rail carved with an oval 
escutcheon charged with a coat-of-arms, and with acanthus-leat 
scrolls and volutes. Back and seat covered with crimson velvet, 


bordered and paneled with broad gold galloon and finished with 
silken fringe. 


‘at 
2 


703—SEVENTEENTH CENTURY TuscAN WALNUT ARMCHAIR 
Rectangular back, with square side supports, acanthus-leaf 


iy yyy carved finials and large horizontal quatrefoil-shaped splat 
H) carved with scrolled egg-shaped escutcheons and acanthus-leaf 
scrollings, straight flat molded arms on turned baluster-shaped 

supports, square and turned legs with shaped and carved front 

rails. Seat covered with Hungarian point embroidery finished 


with silken fringe. 
704—SEVENTEENTH CENTURY FLORENTINE WALNUT ARM AND SIDE 
CHAIR 
'Y Sloping rectangular backs with gilded acanthus-leaf carved 
finials, the armchair with straight flat voluted arms and square 


supports. Straight square legs, with deep front rails pierced 
and carved with fleurs-de-lis, and square lower front, side and 
back rails. Seats and backs in original leather, secured with 
large and small rosetted brass-headed nails. The backs are 

wg gold-tooled, with square scrolled escutcheons charged with coats- 
of-arms, supported by putti surmounted by helmets and sur- 
rounded by scrolled and rosetted borders. 


(Illustrated ) 


a? 


\Py 


’) 


y 


705—SIxTEENTH CENTURY FLORENTINE WALNUT ARMCHAIR 

*~ Square back, with square side supports and gilded, carved and 
gilt finials, flat molded arms on turned baluster-shaped sup- 
ports, square legs on square base rails and square back rail. 
Back and seat covered with leather, gold tooled, as to the back, 
with armorial shield and scrolled borders, and as to the apron, 
with bands of scrollings. Secured by round brass-headed nails 
and finished with silken fringe. 


(Illustrated) 


706—Pair or SrxTeeNtH CrEnrury FLORENTINE WaLNuT ARM- 
CHAIRS 

Straight backs, with square side supports and finials carved 
as honeysuckles and gilded. Flat molded arms on turned bal- 
uster-shaped supports, square legs and base rails. Backs and 
seats covered with contemporary leather, gold tooled, as to the 
backs, with scrolled shields charged with coats-of-arms sur-_ 
mounted by helmets and with palmette-shaped ornamentations, 
and as to the aprons, with bands of fleurons. Secured by double 
rows of round brass-headed nails and finished with silken 
fringes. 


707—Pair oF SEVENTEENTH CENTURY FLORENTINE WALNUT ARM- 
CHAIRS 

Straight rectangular backs; one with turned ball finials, straight 

- spirally turned arms on spirally turned supports, spirally 
turned legs, front and side rails and stretchers. Backs and 
seats in original leather, secured with large and small rosetted 
brass-headed nails, the seats finished with leather fringe, the 
backs repoussé with oval escutcheons charged with coats-of-arms 
and flanked by acanthus-leaf scrolls and stars. 


(Illustrated) 


708—SEVENTEENTH CEentTURY NortH ITALIAN WALNUT ARMCHAIR 


A Straight back, with gilded acanthus-leaf carved finials. Flat 
0 7 curved, voluted arms on square supports, square legs with vo- 
luted feet, deep pierced and scroll carved front rails and square 
side rails. Seat and back in original leather, secured with large 
and small star-headed brass nails and finished with silk fringe. 


The back repoussé in a design of a central cartouche surrounded 
by acanthus-leaf scrollings. 


705 


704 


707 


te 
ee 


ee 


ecrvre¢e 


Straight back with square side supports and finials carved as 
crowned eagles. Flat molded and voluted arms on square 
carved baluster-shaped supports, square legs, side and back 
rails and deep front rail carved with oval escutcheons and vo- 
(> luted scrolls. Back and seat covered with contemporary leather, 
gold tooled, as to the backs with scrolled shields charged with 
Uf | coats-of-arms surmounted by helmets and surrounded by a bor- 
der of scrollings, and as to the aprons with bands of fleurons. 
Leather secured by double rows of round brass-headed nails 
and finished with silken fringes. 


710—Pair OF SEVENTEENTH CENTURY FLORENTINE WALNUT ARM- 


i CHAIRS 
j 


Straight rectangular backs, spirally turned arms, supports, legs, 


{ front and side rails and stretchers. Backs and seats in original 
S e: leather secured with brass-headed nails. 
11—Pair oF SEVENTEENTH CrentTuRY FLorENTINE WALNUT ARM- 
| : CHAIRS r ‘ 
rAN ERE, 4 We 
ee \\ J Similar to the preceding. - 
. 712—Parr oF SEVENTEENTH CENTURY FLORENTINE WALNUT ARM- 
\ o 
\ f CHAIRS 


al A Similar to the preceding. 
a ic y ) © 
Dee Ne 2 


71383—SIxTEENTH CENTURY FLORENTINE WALNUT ARMCHAIR 

Straight back, with square side supports and finials carved as 
Gothic leaves. Straight flat molded arms on turned baluster- 
shaped supports; turned legs and square base rails with paw 
terminations. Back and seat covered with contemporary 
leather, gold tooled, as to the back with a diamond-shaped me- 

~ dallion surrounded by a border of scrollings, and as to the 
apron with a band of scrollings, secured by large round-headed 
brass nails and finished with knotted silken fringe. 


714—Pair oF SIXTEENTH CENTURY FLORENTINE WALNUT ARM- 
CHAIRS 

a Straight backs, with carved and gilt acanthus-leaf finials. Flat 

molded arms on turned. baluster supports; straight legs and 

Y cross braces. Seats and backs in contemporary leather secured 


J : with brass-headed nails and finished with silk fringe. Backs 
_ j Ton tooled in gold with central scrolled armorial shields and pal- 


mette-shaped ornaments in the angles. 


E 715—Par oF SIXTEENTH CENTURY FLORENTINE WALNUT ARM- 
JV CHAIRS 


LY Similar to the preceding. | bik 
4 
Aur J {0 


Te 


716—Patr or FirreentH Century FLORENTINE WALNUT CHAIRS 
Straight square backs and seats, turned legs, side rails and 
stretchers. Seats and backs in original leather, secured with 


round-headed brass nails, finished with silk fringe. E 
\ 717-—Patr or FirreentH Century FLORENTINE WaLNutT CHAIRS 
\ sP Straight square backs and seats, turned legs, side rails and 
\ oj} iv stretchers. Seats and backs in original leather, secured with 
\ } ey ai brass-headed nails and finished with silk fringe. Backs tooled 
a . ) < : ' 
\ \ | in gold with a scrolled armorial escutcheon and floral borders. 
Wea | 
1 fy- (Illustrated ) 
718—Pai or SrxteentH Century FLORENTINE WaLNUT ARM- 
batts CHAIRS 


L. nw 


Square back, with square side supports and gilded, carved acan- 

| thus-leaf finials, flat molded arms on turned baluster-shaped 

(\ 4’ — supports, square legs on square base rails with paw terminations 

“) and shaped back rails. Backs and seats covered with leather, 

7 gold tooled, as to the backs, with quatrefoil medallions sur- 

rounded by paneled borders, and as to the aprons, with dia- 

‘A mond-shaped medallions, secured by double rows of round 
brass-headed nails and finished with silken fringe. 


(Illustratedy 


(i 719—Srer or Two FirreentH CrentTury FLORENTINE WALNUT 
() nee ye CHAIRS | 
} lo a] Straight backs, with carved gilt shell-shaped finials, square 
vis scrolled cross legs with voluted feet pivoted as though to fold, 
iN and with turned front and back rails. Seats and backs in 
ct | original leather fastened with round-headed brass nails and 
oe \p f finished with silk fringe. 


/ (Illustrated) 


720—Pair or FIFTEENTH CENTURY FLORENTINE WALNUT CHAIRS 


Similar to the preceding. 


721—Parr or FIrreentH Century FLORENTINE WALNUT CHAIRS 


7 - 
2 OD, 


Similar to the: preceding. 


722—Pair or Firreentu Century FLORENTINE WALNUT CHAIRS 


“eo” Similar to the preceding. 


ee 


wR pte 


\ 


see 


718 


719 


17 


CUSHIONS AND TAPESTRIES OF THE SIXTEENTH 
AND SEVENTEENTH CENTURIES 


725—Pair oF SIXTEENTH CENTURY FLORENTINE EMBROIDERED 
SILK CUSHIONS 
Rectangular shape. Covered with blue silk, embroidered in 
4\ pL" i. : . : 
on Ve gold with a diapered patterning of raised torsades surrounded 
¢; by interlacements and scrollings. 
Height, 15 inches; width, 181% inches. 
(Illustrated) 


726—SIXTEENTH CENTURY FLORENTINE EMBROIDERED CUSHION 

A, Covered with red silk. Kmbroidered in colored silks, as to the 
\) center, with a scrolled armorial shield charged with a coat-of- 
C) arms mantled with foliage and surmounted by a helmet. This 
\ U is surrounded by four large palmette-shaped figures of scroll- 
ings and flowers starting from conventional vases at the angles. 

Finished with silk tassels. 
Height, 14 inches; width, 191% inches. 


(Illustrated) 


727—SIXTEENTH CENTURY FLORENTINE EMBROIDERED SILK 
CUSHION 
Rectangular shape. Covered with red silk, embroidered in col- 
r/\ v ored silks and gold with a scrolled pear-shaped escutcheon 
charged with a coat-of-arms and surrounded by scrolled ribbons. 
At the angles are voluted and floral palmettes, and the border 
is of vases, scrolled acanthus leaves and flowers. 


Height, 14 inches; width, 19 inches. 
(Illustrated) 


728—PAIR OF SIXTEENTH CENTURY FLORENTINE CUSHIONS 


_ 


Covered with red satin embroidered, in colored silks, as to the 
center, with figures of Justice carrying her scales and a female 
Bacchante pouring out a libation of wine from a vase. At the 
angles are palmette-shaped figures of scrollings and flowers. 
Border of scrollings and vases. Finished with silk tassels. 


Height, 151% inches; width, 201% inches. 


ee 


729—Pair oF SIXTEENTH CENTURY FLORENTINE EMBROIDERED 
SiLK CUSHIONS 

Rectangular shape. Covered with red silk, embroidered in gold 
and colored silks with oval medallions occupied by figures 
‘of Minerva with spear and shield and Diana with a bow, en- 
closed by a border of medallions and acanthus leaves and sur- 
rounded by scrolled ribbons. At the angles are scrolled pal- 
mettes, and the borders are of acanthus-leaf scrollings sym- 
metrically diapered. Finished with tassels. 


Height, 15 inches; width, 191% inches. 


730-——SIxTEENTH CENTURY FLoRENTINE EMBROIDERED SILK 
CusHION 

Rectangular shape. Covered with red satin, embroidered in 

gold and colored silks with a scrolled escutcheon charged with 

(fo a coat-of-arms and with voluted and floral palmettes at the 

“) | angles and with a border of acanthus-leaf scrollings and flowers. 


‘ Height, 21 inches; width, 15 imches. 


(Illustrated) 


731—SrxteentH CrentTuRY FLORENTINE EMBROIDERED CUSHION 
Covered with red silk embroidered in colored silks, as to the 
; center with a two-headed eagle surmounted by a crown and 
4 displaying a shield charged with a coat-of-arms. In the angles 
\ are heraldic eagles. Surrounded by a border of scrollings and 
flowers. Finished with silk tassels. 


Height, 2014 inches; width, 151% inches. 
(Illustrated) 


732— FIrTEENTH CENTURY FLORENTINE TAPESTRY COVER 
Rectangular shape. Woven to simulate an Asia Minor rug, 
* with a field of quatrefoil-shaped interlacements, inner and outer 
\ guards of square quatrefoiled rosettes, main border with a dia- 


pered pattern of looped interlacements and leaves, and outer 
border of looped tassels. 


Length, 11 feet 5 inches; width, 6 feet 10 inches. 
(Illustrated) 


730 


x? KO Oy «> 


ates 


731 


Resateiiae bike The center woven = a 
panel, occupied by a scrolled and shaped shield ¢ 
a coat-of-arms, and surrounded by an arabesqu 
of scrolled acanthus leaves and cornucopie filled ) 
leaves. The border is of meander pattern of a 
scrollings separated by fluted vases. The g whale, Pp 
Lhe colors on dark grounds. Sn san 


Height, 8 feet 9 inches; width, ) 
(Illustrated) ee : 


; K 4 ; > 2 ae es oe Z 
734— SEVENTEENTH CENTURY Iranian Horatic Ta 
Rectangular shape. The center woven with a cent 
panel, occupied by a scrolled and shaped shield c el 


a coat-of-arms, and surmounted by an arabes ue 
scrolled acanthus leaves and Raney! fled v 


serollings PEACE * nae vases. “The eho 
hehe colors on dark grounds. 2S i> Sepa 


sis * Rp igh 8 feet 9 ‘inbie: wid 


w*ve 


ea 


7 
A . 
a 
é 
t 
SOE 
h ome 
/ 
i ay 2 
i pa 
He ( 


eee 


No. 733—SEVENTEENTH CrentTuRY Heraupic Tapestry PANEL 


735—SHVENTEENTH Century Fiemisu Verpure T 
oor” Rectangular shape. ‘The center woven in a “ve 
of large scrolled, pointed and serrated leaves in 
of green on a dark ground and intertwined with 
\ and other flowers, buds and leaves, and with birds. 
v ur is a broad band of flowers and fruits, woven in 
colors, and leaves on a light ground, - pt a4 Ks 
Height, 11 feet 3 inches; Se 


ve! esse ete ee “i 


wf z Bim AS yd 
at ‘ ee 


7 36—SrvENTHENTH CunTURY Fiemisn ‘Vexpors 
bth Rectangular asacee 


Apa = 


[ 


K\ feb bread. hana aE aa ate fruits, wo 
colors, and leaves on a ae sete thes oS 


No. 735—SEVENTEENTH Century Fremish Verpure Tapestry PANEL 


1 ee Century ITALIAN TAPESTRY PANEL 


ce 


y 


Rectangular shape. Woven with episodes of the Siege of Tro 
In the center are the figures of Paris, in classical armor, and 
Helen in a loose robe and wearing a close-fitting cap. On either 
side are the trunks of trees, that on the left being an apple tree 
with a small animal below preparing to climb it and a scrolled 
escutcheon charged with a coat-of-arms above, while that on the 
right is an oak tree with a parrot perched on one of the branches. 
On the left is Diomedes with the captured Palladium, and on 
the right Achilles seizing Polyxena. On the extreme right is 
a city gate. In the distance a landscape with figures and a 
castle. The architecture and costumes, with the exception of 
that of Paris, are Italian of the sixteenth century. Surrounded 
by a border of a laurel-leaf garland and clusters of fruits, flow- 
ers and leaves. 

Height, 5 feet 7% inches; width, 18 feet 9 inches. 


TANVG AULSadV |, NVIVIVLT AUOLNAS) HLNAALXIGC—)JE) “ON 


FURNITURE OF THE FIFTEENTH, SIXTEENTH 
AND SEVENTEENTH CENTURIES 


738—SIXTEENTH CENTURY FLORENTINE WaLNuT CABINET 
Rectangular shape, with molded and dentelled cornice, paneled 
frieze fitted with drawer, arranged as cupboard with hinged 
paneled door, having in the center an applied carving of , 
cyl ry scrolled and voluted lion mask. The sides have scrolled an 
i voluted round-arched niches occupied with carved figures of 
bearded men, manacled and wearing’ Phrygian caps, on brackets. 


Molded base. 


7] 


Height, 4 feet; width, 1 foot 10 inches. 
(Illustrated) 


739—SIXTEENTH CENTURY TuscAN WALNUT CaBINET 


Rectangular shape, with molded top carved with two bands of 
flutings. The frieze fitted with two drawers, separated and 
flanked by carved voluted lions’ masks and with sunken paneled 
X / fronts carved with voluted strapwork scrollings. The lower 
part is arranged as a cupboard with two hinged sunken paneled 
doors separated and flanked by narrow vertical panels carved 
with floral rosettes. The plinth is carved with circular fluted 
rosettes and the base is molded and fluted.. On double fluted 
block feet separated by voluted carved fan-like ornamentations. 
Swinging scrolled and looped handles of bronze. 


Height, 4 feet 2 inches; width, 8 feet 4 inches; depth, 1 foot 8 inches. 
(Illustrated) 


738 


739 


740—FirreentH Century Norte Irarian CarveED, PAINTED AND 
Gitpep Woop OvERMANTEL 

Rectangular shape.. Of, molded and carved wood painted in 

/ gold on a blue ground and divided, horizontally, into sections 

\ / by molded cornices and friezes enriched with carved acanthus- 

leaf scrollings, and vertically, into three divisions by four Ionic 
pilasters with shafts and pedestals paneled and carved with 
candelabra and acanthus-leaf scrolls. In the middle section 
these divisions form niches with round-arched tops, shell pedi- 
ments and spandrels carved with scrollings. 


Height, 47 inches; width, 58 inches. 
(Illustrated ) 


741—SixtrentH Century Brescian WaLNut CABINET 
Rectangular shape, with molded and carved cornice and frieze, 
( fitted with two drawers with paneled and carved fronts sepa- 
rated and flanked by acanthus-leaf carved console brackets, 
aN which also form drawer fronts, and supported by three pilasters 
a with paneled and carved fronts. Arranged as a cupboard with 
| hinged doors, the fronts with round-arched panels enriched by 
» radiating and horizontal flutings. On molded and carved base 

and paw feet. 


Height, 4 feet 2 inches; length, 4 feet 1 inch; depth, 1 foot 9 inches. 
(Illustrated ) 


aie 


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. 740 


742—SIxTEENTH CENTURY VENETIAN WALNUT CABINET 
Rectangular shaped, with molded cornice and frieze flanked by 
dies carved with fleurs-de-lis, supported by pilasters carved with 
female caryatids, pendants of fruits and leaves and tassels. Ar- 
ranged as a cupboard with hinged doors, each having two broken 
and three plain molded panels, with carved masks in center 
panels. Molded base and shaped bracket feet. 


Height, 4 feet 8 inches; width, 3 feet 5 inches; depth, 1 foot 
6 inches. 
(Illustrated ) 


743—S1IxTEENTH CENTURY Tuscan WaLNutT CaBINET 
Rectangular shape, with molded and carved top. Apron divided 
by three carved console brackets and fitted with two panel-_ 
fronted drawers. ‘The lower portion divided into two portions 
by bearded and female caryatids, with flower and leaf pendants, 
having between two sunken. paneled hinged doors with turned 
wooden knobs, molded and gadrooned base and paw feet. 


Height, 4 feet 2 inches; width, 5 feet; depth, 2 feet 1 inch. 
(Illustrated ) 


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744—FourTEENTH CENTURY FLORENTINE [NLAip WaLnut Manta 
Vooes or Breap CHEST 
Rectangular shape, with hinged lid having a molded front. ‘The 
{/ body of the chest is divided vertically into three parts, the center 
_ A\/~ of which is enriched by sunk and raised molded panels sur- 
\ 0 rounded by bands of geometrical inlay. This is flanked by 
squares with diagonal bands of inlaid fleurons. 'These side sec- 
tions are shaped below so as to form a cusped arch with carved 
rosettes at the points. 


= Height, 3 feet; width, 5 feet; depth, 2 feet. 


Signor Bardini considers this as a very interesting piece on account, 
not only of its rarity, but of its exceptional state of preservation and 
rich patina. 


(Illustrated ) 


745—FOURTEENTH CENTURY SIENESE PastTIGLIA DECORATED CAS- 
Y & D0. 
A o SONE 


5 oce 


Rectangular shape, with domed, hinged and molded lid deco- 
rated with painted panels of interlacements. The front is sur- 
- _ rounded, in pastiglia work, with a band of eight-pointed star- 
“shaped sunken medallions’enclosing conventional foliage sprays; 
Bi within the border, on a ground decorated in relief with scrolled 
sprays of pointed leaves, is a central round and cusped 
arched panel, the arch supported on spirally fluted pilasters, 
enclosing a heraldic figure of a statant lion on a ground semé 
with floral sprays. ‘This is flanked by two quatrefoil-shaped me- 
dallions enclosing shields charged with coats-of-arms. On base 
shaped with a series of cusped pointed arches. ‘The sides are 
decorated with quatrefoil medallions, on grounds of scrolled 
sprays of pointed leaves, and enclosing figures of animals. 


Height, 3 feet 5 inches; length, 5 feet 51% inches; width, 2 feet 
11% inches. 


(Illustrated) 


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Rectangular shape, with hinged lid rine: side 4) 

0 front and sides are decorated in colored gess« 

v7 diapering of large fleurs-de-lis enriched | with stalks 
a Pony and with two heart- “shaped eseutcheons su 


patternings i in pated gesso. Vertically banca ; 
of wrought iron shaped with recurrent beast 
Shaped apron painted with masks. | | 


Height, 1 foot ny i males 


Florence. © 


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747—KarLY FourTEENTH CENTURY PADUAN PAINTED CASSONE 


Boat-shaped, with ‘arched hinged cover and side braces. The 
entire cassone is covered with painted leather and the body 
is strapped with two bands of wrought iron. The front is 
painted in a design of a central circular medallion with red 
ground, surrounded by green, with a banded laurel-leaf wreath 
which encloses a shaped armorial shield. The ground is divided 5 
into twelve squares of alternate conventional wave pattern — 
diaperings in red and white and A-shaped figures entwined with 
white looped ribbonings on blue ground. On molded cross- 
brace feet. 
Height, 16 inches; length, 4 feet 9 inches; depth, 17 inches. 
This cassone is considered to be one of the earliest in existence. 
Consideration being had as to its age, its state of preservation is re- 


markable. 
(Illustrated) 


748—FivreENtH Century FLORENTINE CARVED WALNUT CASSONE 


y 


f 


ectangular shape, with molded and carved hinged lid. Front 
with one long panel surrounded by a ribbon-bound band of 


/ fruits and leaves flanked by nude male caryatids. Molded base 


and carved and molded bracket feet. 
Height, 1 foot 11 inches; length, 5 feet 8 inches; width, 2 feet 1 inch. 
(Lllustrated ) 


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749—SixTEENTH CENTURY Papuan Carvep WALNUT CASSONE 

Rectangular shape, with molded, domed and hinged lid and 
frieze carved in low relief with a band of guilloche patterning. 
The front is decorated with a panel carved in low relief with a 
voluted shield charged with a coat-of-arms, flanked by scroll- 
ings of oak leaves and acorns, vine leaves and bunches of grapes 
and surrounded by a border of trefoil meander patterning. At 
the angles are female caryatid figures. Incurved base carved 
with astragalled flutings and carved paw feet. 

Height, 2 feet 6 inches; length, 6 feet 144 imches; width, 2 feet 

3 inches. 
_ (Illustrated) 


| 750—SIXTEENTH CENTURY FLORENTINE CARVED WALNUT CASSONE 
) Rectangular shape, with carved and molded hinged lid. ‘The 
front is divided by rosette and acanthus-leaf carved borders into 
three panels; the center carved with a scrolled armorial es- 
cutcheon surmounted by a cherub and the side ones with stand- 
ing figures of winged putti. Gadrooned base forming a drawer 
front at one end and paw feet. 


Height, 2 feet; length, 5 feet 6 inches; depth, 1 foot 10 inches. 
(lllustrated ) 


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tpi = SIXTEENTH CrnTURY Foren tine  Canven a AND 


42 ae a Gear 


NuT CASsONE are Br hoe 
Pao Dne ae pes with molded and dom d 


Height, 2 feet 1 inch, Gadi 5 feet 5Y ine ) 
| (Illustrated) 


ANOSSV() LONIVAA Cada TI) GQNV CHAU’) ANILNAYOT AUWMOINA) HLN@ALXIG—T[G) “ON 


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752 


ie 


SIXTEENTH CENTURY FLORENTINE INLAID WALNUT CaSSONE 
Rectangular shape, with molded, domed and carved hinged lid, 
inlaid in light and darker colored woods with oval and octagonal 
medallions. The front is divided into three panels inlaid in 
light-colored woods, the center with a scrolled armorial es- 
cutcheon charged with the Florentine lilies, those_on either side 
with arabesque scrollings of winged dragons, puwtti, lions, birds 
and scrollings. Carved and molded base and large paw feet. 


Height, 28 inches; length, 4 feet 5 inches; depth, 26 inches. 
(Illustrated) 


7583—SIXTEENTH CENTURY BOLOGNESE INLAID WALNUT CASSONE 


Rectangular shape, with molded and domed hinged lid inlaid, 


in light-colored woods, with scrolled medallions and interlace- 
ments. Iront divided into three panels with raised moldings, 
the center inlaid with an oval escutcheon supported by amorini, 
the side ones with figures of Venus in a triumphal car drawn 
by sheep driven by amorini. At the angles are caryatids formed 
as winged sphinxes, with acanthus-leaf terminations. Molded 
and carved base and paw feet. 


Height, 2 feet 1 inch; length, 5 feet 8 inches; width, 1 foot 11 inches. 
(Illustrated) 


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754—S1xTEENtTH CrntTuRY BoLoGNesE WALNUT CassoNE 

Rectangular shape, with molded and fluted top and frieze carved 
with oval and circular medallions separated by voluted console 
brackets, supported by paneled pilasters carved with cherubim 
on voluted console brackets. Arranged as a cupboard with 
hinged paneled doors carved with oval medallions surrounded 
by turned rosettes. Molded base and plain plinth, on square 
base rails with carved terminations. 


Height, 4 feet 2 inches; width, 5 feet 5 inches; depth, 1 foot 4 inches. 
(Illustrated) 


755—SIXTEENTH CENTURY FLORENTINE WALNUT CABINET 
Rectangular shape, with molded and dentelled cornice and 
frieze, with two drawers separated and flanked by gryphons’ 
masks, supported by three tapering turned and carved baluster- 
shaped pilasters with Ionic capitals. Arranged as cupboard, 
with two pairs of paneled hinged doors. Molded broken base. 


Height, 4 feet 3 inches; width, 6 feet 2 inches; depth, 2 feet 3 inches. 
(Illustrated) ; . 


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758—SIXTEENTH CENTURY FLORENTINE WALNUT CABINET 


se 


Rectangular shape, made in two parts. The upper part, with 
molded cornice and fluted frieze supported by two pilasters with 
paneled fronts carved with stems of interlacing leaves, is fitted 
with six long and four square drawers of later date with original 
paneled fronts surrounded by bands of carved guilloche pattern- 
ing and with turned knobs. The lower portion is divided by 
three broad Ionic pilasters, with twin shafts paneled and carved 


with guilloche patterning, into two sections with paneled hinged 
doors. Molded base and ball feet. 


Height, 6 feet; width, 3 feet 9 inches; depth, 1 foot 6 inches. 


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759—SIxTEENTH CrentuRY Ligurian WaLnutr CABINET 

©.~ Rectangular shape, made in two parts. The upper part, with 
molded and carved cornice and modillioned frieze supported on 
three fluted Ionic pilasters, is arranged as a cupboard with two 
paneled hinged doors surrounded by heavy raised molding 
carved with rosettes, the panels carved with flat acanthus-leatf 
scrollings and projecting female heads. ‘The lower part, with 
carved top and frieze carved with gadroonings forming the 
fronts of two drawers, is divided by three fluted Tonic pilasters 
into two parts, with hinged doors matching those above, the 
panels carved with voluted strapwork. On molded and carved 
base and ball feet. 


Height, 6 feet; width, 4 feet; depth, 1 foot 9 inches. 


oat] 


760—SIXTEENTH CENTURY FLORENTINE WALNUT CABINET 


0 


Rectangular shape, made in two parts. The upper portion, with 
a molded and dentelled cornice and plain frieze supported by 
two caryatid figures terminating in tapering pedestals and paw 
feet, has been, at a later date, partitioned into eleven drawers, 
with paneled fronts and a central compartment with a hinged 


door, the front of which is architecturally treated with a broken. 


pediment and molded cornice. The lower portion, with a molded 
and carved top and modillioned ‘frieze, fitted with a carved 
front drawer supported by two female caryatids with tapering 
pedestals and flanked by two detached turned baluster-shaped 
columns, is arranged as a cupboard with hinged door having a 
paneled front with raised molding. Molded base and paw fear, 
Drop looped handles of chased bronze to all drawers and doors. 


Height, 6 feet; width, 3 feet 3 inches; depth, 1 foot 6 inches. 


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761—SEVENTEENTH Century Ligurtan WALNUT CABINET 
1S*%- Rectangular shape, made in two parts. The upper portion, with 
roken straight pediment, its finial made in the form of a broken 
pedimented round-arch niche, molded cornice, supported by 
wo detached columnar pilasters, and frieze with raised center 
panel and divided by modillions, is arranged as a cupboard with 
two molded and raised paneled hinged doors. The lower por- 
tion, with molded top, supported by console brackets and broad 
pilasters with paneled and oval medallion carved fronts, and 
triple paneled frieze carved with a cherub, is also arranged as 
a cupboard with two molded and raised paneled hinged doors. 
Molded base, ball feet and paneled sides. 


Height, 7 feet 10 inches; width, 3 feet 6 inches; depth, 1 foot 
6 inches. 


This piece illustrates most admirably the French influence re- 
ceived, by way of Lyons, by the North Italian furniture makers of the 
seventeenth century. 


762—Pair oF FirreEENTH CENTURY FLORENTINE WALNUT GRADINI 
Rectangular shape. The pair form two incurved sections, one 
superimposed on the other and carved with a diapered pattern- 
ing of plaited strapwork. In the center of the lower section is 
a scrolled oval escutcheon charged with the coat-of-arms of the 
Arnolfi family of Florence, flanked by medallions carved re- 
spectively with the letters “L” and “E.” 


Height, 1 foot 3 oho width, 6 feet 6 inches. 


These “Gradini” were used by the Florentines of the Renaissance 
for the display of majolicas, bronzes and glass. 


763—SIXTEENTH CENTURY FLORENTINE WALNUT CABINET 

Rectangular shaped, with broken molded cornice and fluted 
frieze supported in front by three fluted and astragalled Ionic 
pilasters and with two corresponding pilasters at the sides. 
Arranged as a cupboard, with two hinged paneled doors flanked 
by narrow vertical molded panels. Incurved gadrooned and 
molded base on four carved paw feet. 

Height, 4 feet 2 inches; width, 6 feet 10 inches; depth, 2 feet 7 


inches. 
(Illustrated) 


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No. 763—SIXTEENTH CENTURY FLORENTINE WALNUT CABINET 


764—FouRTEENTH CENTURY SIENESE PASTIGLIA COFFER 


Rectangular shape, with molded and domed hinged lid. The 
front has a molded panel decorated in gilded pastigla with an 
arcading of pointed and cusped arches supported by spirally 
scrolled pilasters, the four center ones occupied by three women 
in flowing robes, two warriors in a boat, two women and a 
warrior at a.city gate, and a woman with drawn sword con- 
fronting a warrior, the two side ones with shaped shields sur-' | 
mounted by helmets, mantled with scrollings and charged with 
coat-of-arms. Above and below are bands of heraldic passant 
lions separated by heart-shaped acanthus leaves, and the panel 
is flanked by vertical panels of scrollings, interrupted in the 
center by heart-shaped cartouches. ‘The base is molded. 


Height, 2 feet 51% inches; length, 5 feet 11 inches. 
(Illustrated) ae 


UatAtO*) VITOLLSV ASANAIG AYNMLNAT) HINGIALYNO Y—F9) “ON 


765—FIrTEENTH CENTURY PAINTED FLORENTINE CASSONE 


Rectangular shape, with hinged lid having a molded edge, plain 
sunken paneled front, decorated with three painted panels sur- . 
vounded by raised moldings, borders painted with leaf scrollings, 
quatrefoils and diamond-shaped interlacements and eight raised 
turned rosettes. Molded base, with plinth painted with a pat- 
tern of -scrollings. Plain wrought-iron lock plate. The three 
painted panels, probably by Dello-Delli (1404-1466), though 
decoratively similar, are unrelated in subject. One is devoted 
to the life of Apollo. On the left the god is seen, armed with 
a bow and arrow, destroying the serpent Python, while on the 
right he pursues Daphne, who is changing into a laurel tree. _ 
In the background he stands conversing with Cupid, who is 
credited with inducing him to seize Daphne. The center panel 
suggests the use of this cassone as a marriage chest, for it shows 
a young Florentine bridegroom, accompanied by his father and 
attendants bearing gifts, approaching a young prince who 
stands at the gate of his castle. In the background stands the 
bride. The other panel probably illustrates a contemporary 
novella; it shows a youth seated at a table under an arched pa- 
vilion with an older man at side. On the left is a maiden pluck- 
ing fruit from a tree; on the right a nude figure bathing in a 
stream of water; in the distance is a female figure. 

Height, 2 feet 2 inches; length, 6 feet 314 inches; width, 2 feet 

3 inches. . 
(Illustrated) 


GOL “ON 


HNOSSV() ANILNAYOTH GaLNIiv q AWOLNAY) HLINGALALY 


4 


766—SIXTEENTH CENTURY UMBRIAN CarvEp Wars i 


ll 


Fol 


Rectangular shaped, with molded and domed hi 
with shallow flutings. The front is paneled 

an oval scrolled cartouche in the center, surmou 
mask and supported by two winged female 
in bold acanthus-leaf scrollings interspersed 
pents and winged dragons. Lower portion ca 
astragalled. Supported on carved Bee f eet.” 


Height, 2 feet 3 inches; length, i fect | 9 
(Illustrated) 


ANOSSV) LANIVAA GHAUVD NVIVANG) AYALNAD HLINAALXIG—9Q9) “ON 


econ ei NA SO NC TERENCE IEEE 


767—FirrEENTH CENTURY FLORENTINE CARVED AND INLAID WAL- 
NUT CASSONE 

Rectangular shape, with domed hinged lid molded and carved 
with imbrications, and fluted and astragalled frieze, supported 
at the angles by carved scrolled medallions and wings. ‘The 
front is paneled, bordered with a band of inlay and a molding, 
and is occupied by a view of the Florentine square, Piazza Sta. 
Croce, with palaces, executed in intarsiata work. The ends 
are plainly paneled, with the Monastery device of “O.S” im 
circle with cross. The base is molded and carved with an acan- 
thus-leaf bordering and the plinth is carved with a meander 
pattern of scrolls and pointed leaves. On large paw feet. 


Height, 8 feet 5 inches; length, 7 feet 5 inches; width, 2 feet 9 inches. 
(Illustrated) 


7 AMALNAD HINGALALY— 19) 
ANOSSV) LOANIVAA GIVIN] GNV GaAUV/) ANILNAVOT se) y 


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“ON 


768—F irrrENTtTH CENTURY VENETIAN INLAID WALNUT CASSONE 
Rectangular shape, with sunk paneled, molded and inlaid hinged 
lid. The front is divided into four square panels’ surrounded 
by bands carved with florid Gothic pointed-leaf meanders and 
enclosed by inlaid moldings. Bordered by inlaid bands of geo- 
metrical interlacements and sunken panels molded and carved 
with pointed-leaf patternings and occupied alternately by 
banded laurel-leaf wreaths and pointed-leaf carved medallions, 
the centers of which are carved bosses surrounded by curved 
Gothic traceries. The shaped plinth is carved with bands of 
acanthus leaves and enriched flutings and the base is molded. 


Height, 2 feet 6 inches; length, 6 feet 1 inch; width, 2 feet 1 mch. 
(Illustrated) 


GNOSSV,) LONTVAA GIWIN]T NVILANG A AWOINGA) HIN@ALALY—89 “ON 


769-—FIFTEENTH CENTURY FLORENTINE GILT GEsso DECORATED 
CASSONE 

Rectangular shape, with molded, domed, hinged lid and frieze 
decorated with gilt gesso work on green ground in a pattern 
of scrolls, volutes and trefoils. The front is decorated with a 
panel bordered by a raised molding and occupied by gilt gesso 
work on a green ground in a pattern of urn-shaped vases, acan- 
thus-leaf scrollings and large flowers, with a circular medallion 
in the center enclosing a shield charged with a coat-of-arms on 
a red ground, the whole flanked by two paneled pilasters with 
acanthus-leaf capitals and shafts decorated in gesso work with 
stems of pointed leaves rising from urn-shaped vases. The 
sides are decorated with panels of gilt gesso work on green 
grounds in a pattern of cusped quatrefoil Gothic tracery, and 
the plinth with a band of gesso work in a pattern of scrolls, 
volutes, pointed leaves and vases. Molded base. 


Height, 2 feet 9 inches; length, 6 feet 2% inches; width, 2 feet 
214, inches. 


(Illustrated) 


ANOSSV() GALVAOOUCT OSSHX) LTI*) ANILNAYVOTY AUIINGA) HINAALALY—69), “ON 


REIL EAA ED 
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ecahas top with ara aoe < j 
| on bracketed cross braces and shaped 
habe: | with bold volutes and acanthus leaves, and ¢€ 
and paws. Heavy shaped longitudinal t 
keyed tenons. Bias 


Height, 2 feet 9 Pa. gis 8 fet 
eS . 5 inches. 
aa . eta ef lustrated) 
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ATaV T, LONIVAA ANILNAYOT AUNING) HINADLXIG—())) “ON 


iis AMA iare;s 4 


on lyre- oe ee iited cuppa 
paw terminations. Longitudinal sl 
keyed tenons and enriched with | 


(Iustrated) — 


ATaV T LONIVAA NVIIVIT TIVULNG,) AUNLINGA’) HLNAALXIG—T[) ) “ON 


Rectangular top with molded edge, a and fluted a 
apron on shaped supports carved on one side with 
escutcheons charged with a coat- of-arms and 
ending in paw feet and shaped and carved base - 
tudinal ee stretcher eG with a ter 


44/, inches. 
(1 lustrated 7) 


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72—SIxTEENTH CENTURY PERUGIAN Watnut TABLE 


No. 


and reeen base rails. Sra longtl ii 
into end ese a keyed tenons. bE 


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Maver” 


Rectangular top with ieee moldee nya fluted € 
and voluted supports carved with central acar 
with lions’ legs and paws. Longitudinal Ss 
cured with keyed tenons. 


Height, 2 feet 8 imches; length, 10 0 feet 
10 inches. i 
(Mlustrated) 


GATAV], LONIVAA ANILNGYOT YT AUDLING) HINAALXIG—Ff)), “ON 


Le 


Rectangular top ant; molded. ae tuted: Ee f 
cross braces and shaped molded supports, a 
lutes and ending i in lions’ paws. es Le rey 


Height, 2 feet 8 inches; length, u feel 24 3 
111% inches. 
(Iltustrated) 


ATAV], LONIVAA ASHNOOTOG AYNOLNG) HINWALXIQG—G)), “ON 


7 EP. ° 


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to end are 


Height, 2 feet 11 inches; length, 8 feet 8 
silck inches. 


(Illustrated) : 


ATIV], LANIVAA INILNGUOTY AUALNAD HLNAGLXIG—9Q)L ‘ON 


777—F IFTEENTH CENTURY FLORENTINE INLAID WALNUT CABINET 


Rectangular shaped, with serpentine front. Molded cornice, 
with frieze inlaid with intarsia work in a band of geometrical 
interlacements. ‘The front and sides divided into sections by 
five vertical molded panels of geometrical interlacements. Ar- 
ranged as a cupboard, the front, with two hinged doors, having 
paneled fronts bordered with bands of diamond and twisted 
ribbon interlacement, patterned inlay and bronze knobs. ‘The 
sides are paneled to correspond. Molded base with inlaid 
plinth. 

Height, 3 feet 9 inches; length, 8 feet 6 inches. 


8 


LANIGV, LOANIVAA GIVIN] ANILNGUOTY AMALINAD HINGDLALT—)L) ‘ON 


778—FivreentH CENTURY, Foren Tine Ista WaALnt 
\, L900" PANCA es ; Ag: ees 
Rectangular shaped. Straight had ing ae 
voluted arm-rests. Back paneled with ~ 
surrounded by borders of diamond-shaped ir 
vertical molded panels of double guilloche 
formed as a box, with molded hinged lid a 
dered with band of inlay. Molded base, wi I 
5 molded platform base, the front and side ¢ 
band of Greek key pattern. 


; 3 . . Height, 8 9be 8 inches 
ie ye ae (Ilustrated) | 
pai | 


VONVdVSSV/) LONTVAA GIWIN]T ANILNYYOTY AWILNG) HLINGALALY—S8)), “ON 


779-——SixteeENTtTH CENTURY TuscAN CARVED AND GILT W oop 
FRAME 
Rectangular shape. Molded cornice and frieze, carved, in re- 
lief, with scrolled acanthus leaves and flowers, supported on two 
half-round pilasters with Composite Corinthian capitals, shafts 
carved with linked acanthus-leaf scrollings, molded bases and 
square pedestals carved with voluted scrolls. Plinth carved, in 
relief, with a half figure holding acanthus-leaf scrollings and 
molded base. Inner molded and scroll-carved frame. Entirely 
gilt. 2 
Height, 4 feet 9 inches; width, 4 feet 6% inches. 
' Inside, 82 by 387 inches. 
(Illustrated) 


780—SIXTEENTH CrntTURY TuscAN GILDED WaLNuT Four-pPost 
Bep | 

Posts formed as Doric columns, encircled by reeded rings 
lacquered in gold, on a black ground, with spirally disposed vine 
leaves and tendrils, and supported on square pedestals. Above 
is a molded and modillioned cornice supporting vases of flames 
at the angles and with a ceiling divided by molded stiles into ~ 
square and octagonal panels. Below the cornice is a knotted 
silken fringe. The headboard is paneled, supported at the sides 
by voluted brackets and carved with an oval scrolled medallion 
enclosing a figure of Sleep shown as a nude nymph reclining — 
and holding an orb, with the towers and Duomo of Florence in 
the distance. The medallion is supported by two winged drag- 
ons. Above is a shaped cresting carved with an oval scrolled 
medallion flanked by acanthus-leaf scrollings; the side and foot 
rails are molded, bracketed and carved in the center with cheru- 
bim having voluted scrolls in place of wings. On pear-shaped 
feet, carved with imbrications and beads. The paneled ceiling 
is painted with subjects of the “Life of the Virgin.” In the 
center is the kneeling Virgin, above whose head the two First 
Persons of the Trinity hold a crown, while the Dove of the 
Holy Spirit descends. This panel is surrounded by others con- 
taming angels playing musical instruments, while at the four 
corners are octagonal panels of Virtues. Beyond these, again, 
are other panels of angels, and at the angles scenes from the 
Life of the Virgin, including the Annunciation, the Visitation 
and the Nativity. 


Height, 1 foot 6 inches; length, 7 feet 9 inches; width, 6 feet. 
(Illustrated) 


No. 779—SrxreeNtH Century Tuscan Carvep anv Girt Woop FRAME 


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781—SIxTEENTH CEenTURY NortH IraLian GILDED WaLnut Low 
Post Brep 

The four posts are formed as heavy columns with spirally fluted 
and acanthus-leaf carved shafts, with capitals .carved with 
shields and floral festoons, molded bases and urn-shaped finials 
carved with the figures of putti holding floral festoons. These 
columns rest on square pedestals with turned medallions and on 
turned pear-shaped feet. The headboard is paneled with an 
oval scrolled medallion enclosing a figure of Somnus, shown 
as a winged youth holding an orb representing the sun and 
moon in one hand. Above is a shaped cresting carved in the 
center with an oval escutcheon carved with a floriated cross 
and the initials “D. B.” and flanked by conventional dolphins 
with scrolled tails. The side rails are plain, with voluted 
brackets. 


Height, 6 feet; length, 7 feet 4 inches; width, 5 feet 9 inches. 
(Illustrated) 


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782—SIXTEENTH CENTURY BrescIAN CARVED AND GILT WALNUT 
Low Post Brp 

The posts are of baluster shape, with shafts carved with pointed 
leaves and pear-shaped finials carved with gadroonings, rosettes 
and pineapples. The headboard is paneled, carved with acan- 
thus-leaf and flower scrollings and surmounted by a shaped and 
voluted cresting with an oval medallion carved with a figure 
and by scrollings of pointed leaves and volutes. The end and 
sides are carved with acanthus-leaf rinceaux, the footboard 
being surmounted by a shaped voluted cresting carved with 
scrollings and a medallion charged with a coat-of-arms. 
The legs are straight and carved with large acanthus leaves 
with voluted ends. 


Height, 5 feet; length, 7 feet 2 inches; width, 6 feet. 
(Illustrated) 


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FOR INHERITANCE TAX 


AND OTHER PURPOSES 


THE AMERICAN ART ASSOCIATION 


IS EXCEPTIONALLY WELL EQUIPPED 
TO FURNISH 


INTELLIGENT APPRAISEMENTS 


OF 


ART AND LITERARY PROPERTY 
JEWELS AND PERSONAL EFFECTS OF EVERY 
-DESCRIPTION 


IN CASES WHERE 


PUBLIC SALES ARE EFFECTED 


A NOMINAL CHARGE ONLY WILL BE MADE 


THE AMERICAN ART ASSOCIATION 
MADISON SQUARE SOUTH 
NEW YORK 
TELEPHONE, 3346 GRAMERCY 


COMPOSITION, PRESSWORK _ 


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